Rudolf Von Laban Research Paper

Moving History/Dancing Cultures is a collection of dance related essays and articles by various authors. The book was published in 2001. The article “Searching for Nijinsky’s Sacre” was written by Millicent Hodson. Hodson is a well-known choreographer and lecturer. She has also reconstructed multiple ballets; her most famous being Le Sacre du Printemps, originally choreographed by Nijinsky. As the title suggests, Hodson’s article is about her extensive research of Nijinsky’s Sacre, and the importance of remembering, preserving, and recreating such revolutionary ballets.

The male dancer only wore pants and bared his upper body. This simple costume design not only made the people who watch the dance to have a clear vision of the dancer, but also better presented a predicament that the character was experiencing at that time. At the first half of the dance, the dancer would leave at least one part of his body on the bench, and tried hard to reach other parts of his body away. This muscular interplay between the dancer and the bench resonated with the audience to experiencing the same struggle feelings as the character. As the performance developed, the dancer started to leave the bench to fully use the space. The dancer had many different movements comparing with sitting on the bench previously. He started to lie down, roll over, stand on the bench and make a turn use only one foot. The level of the dance was no longer limited in the middle but changing from low to high as well. Having such a change, the dancer is converting a more delight and energetic feeling to the audience, in order to demonstrated that the character was recovered through the

Mrs. Farrell’s book is quite technical when it comes to the lengthy descriptions of the dances she rehearses and performs; from a dancer’s view these varied conclusions of the types of movements she was dancing is quite astonishing. In fact, it adds a whole new level to the imagination that can come alive in a person’s thoughts when they read an expressive book. Although the technical explanations will excited, astound, and reveal how much passion and deep meaning ballet had in Suzanne Farrell’s life, but a reader, who may not be involved in the arts will be unfamiliar with the ballet and musical terms in

The drapery covering the body of the dancer is also wrapped around the figure’s head and face, hence “masked”, with only eyes peeking through. There are no characteristic or unique features of the dancer that would make her identifiable; the perpetual figure is an important concept of this piece. The figure remains anonymous, drawing the attention to her athletic body. There is a certain sentiment of mystery and intrigue created by the namelessness nature of the figure. Consequently, the dancer is not an important member of society, as those who are important have their most recognizable features exaggerated. Instead, the importance lies in the dynamism expressed, in lieu of personal

The two contemporary choreographers from this unit I chose to discuss are Anne Teresa De Keersmaker and Germaine Acogny. Anne Teresa De Keersmaeker's famous work Rosas Danst Rosas, depicted how Miss Keersmaker wanted to share a message on how she felt the role of women that was molded by society. The performance begins with four female dancers similar in appearance and dressed in similar costumes to present a message that women in everyday clothing going through life like a repetition comparable to different stages that a woman goes through tirelessly. The rhythm of the choreography is served by a series of everyday movements. This is then transformed into emotional narratives which the viewers can identify and connect with. The noises and sounds that the four dancers make

In the beginning years of Mary Wigman’s dance career she searched for a form of art that had not yet come about. After studying a few different forms of dance, she was referred to Rudolf Laban and began learning and exploring under his methods. Hexentanz, one of her more notable works, was first created while working under Laban and would later evolve into 2 more forms; These works would showcase Wigman’s budding theories behind expressive dance. Hexentanz, in its three separate iterations, represents not only Mary Wigman’s evolving ideologies that become footholds for what is considered today as German Modern Expressionism, or Ausdruckstanz, but also reflects the changing of times, not only in choreography, but costuming

Edgar Degas created hundreds of paintings which captured the harsh realities of 19th-century dancers’ lives and depends on his fascination with how ballet dancer’s bodies react when they dance. Degas focused on the movement of the ballerinas across the space and

Observers 2 and 3 stated that there was no change in the amount the movement travelled, whilst Observer 1 responded ‘more’, agreeing with the dancer’s perception (Appendix F, Observer 1, p40). Observer 1 perceived the “yearning” emotion expressed by the dancer, which resulted in the reaching and stretching of the movement, possibly reflecting the similar perception that the phrase occupied more of the general space (Appendix F, Observer 1, p40). The dancer’s articulation of the reaching and stretching also reflects the observed openness of the phrase, reinforcing the idea that emotion is closely linked to the architecture of movement, as explored by Rudolf Laban (Laban,

The ethnographic method has been applied by dance scholars, as for example Pickard (2015), Wulff (2008), Aalten (2004), Roncaglia (2008), Salosaari (2001), Stanger (2013), Wainwright, Williams and Turner (2007)and others, to analyse the dancer's perceptions, mainly with the techniques of data collection of participant observation and interviews. Roses Thema (2007) also included groups

Susan Foster examines the connection between the Deborah Hay’s approach to composition and allegorical dances from the Renaissance. Foster is a choreographer and a Distinguished Professor in the Department of World Arts and Cultures/Dance at University of California, Los Angeles. She studied and researched in areas including dance history and theory, choreographic analysis, and corporeality. Foster acknowledges that on the surface, these styles of dance seem dissimilar; Renaissance dancers wore extravagant costumes and the dances contained mythological content. These dances were exotic, whereas Hay’s pieces polarize Renaissance aesthetic; Foster described her work as, “quiet” and “meditative” (101). Even so, Foster argued that these polar styles shared similar purposes in their performances and their content stemmed from political principles

His divergence from typical dance technique has allowed for him to become a worldwide success within the contemporary dance industry, however he does not label himself as a chorographer, but instead as a realiser. “He uses the term ‘realizer rather than choreographer to describe himself. While choreographer, he says, concerns on setting steps and movements into sequences, what he himself does more concerned with ideas and concepts.” (Bremser, M. and Sanders, L. 2011, 42) 1994 saw Bel’s first choreography take to the stage in a work entitled: Nom donné par l’ateur, translating as Name given by the author. His works really mirrored his abstract thought process and uniqueness. Working with the language of movement he is able to preview minimalism on stage without compromising the integrity of his intentions. The way in which he portrays his work to have a simultaneous link between the choreography, performance quality and audience really evokes thought and question on a different plane to which and audience has been subjected to before. “One of the

Radiation, found in X rays has been used in clinical medicine since its discovery over two hundred years ago. Today, it is common knowledge that radiation can cause cancer and other genetic mutations within the body, but years ago people’s cells were being mutated by radiation without anything being done to regulate or impede it. The life-saving discovery, that radiation causes genetic mutations, came at the hands of Hermann Muller due to his dedication and pure love for genetics. Hermann Muller is a man of vast intellect who came into the public eye for his work in genetics, his role as an educator, his outspoken political standpoint, and his status as a Nobel Laureate. Through his background, actions, and legacy, Hermann Joseph Muller has

Dance I shows the bodies expressing the joy and pleasure, similar to the Fauve art piece. No recognition aspects are visible and figures are drawn slightly and effortlessly. Their movements are unrestricted and they have been associated with bean bag dolls. However, work is difficult. In contrast with Frozen Density of Jacques Louis David, Matisse’s figures

Although the history of the House of Hohenzollen dates back to the 11th century, I am more intrigued with the more modern 1800’s and the rulers of that era. My paper is based on this and includes two people whom I think were the most effective leaders within the royal family.

A fascination with the human body, body were an experience that could somehow be held in common. The ways in which we might experience the body as connected or represent it as disconnected in a live performance. Shifting attention from traditional art object to the artist’s physical action further proposed that art existed in real space and real time. Marina Abramovic, a pioneer of performance art began using her own body as the subject, object, and medium in the early 1970s as she said, ‘In performance my body is object and subject.’ For the exhibition