Space
One of Laban's primary contributions to Laban Movement Analysis (LMA) are his theories of Space. This category involves motion in connection with the environment, and with spatial patterns, pathways, and lines of spatial tension. Laban described a complex system of geometry based on crystalline forms, Platonic solids, and the structure of the human body. He felt that there were ways of organizing and moving in space that were specifically harmonious, in the same sense as music can be harmonious. Some combinations and organizations were more theoretically and aesthetically pleasing. As with music, Space Harmony sometimes takes the form of set 'scales' of movement within geometric forms. These scales can be practiced in order to refine the range of movement and reveal individual movement preferences. The abstract and theoretical depth of this part of the system is often considered to be much greater than the rest of the system. In practical terms, there is much of the Space category that does not specifically contribute to the ideas of Space Harmony.
This category also describes and notates choices which refer specifically to space, paying attention to:
- Kinesphere: the area that the body is moving within and how the mover is paying attention to it.
- Spatial Intention: the directions or points in space that the mover is identifying or using.
- Geometrical observations of where the movement is being done, in terms of emphasis of directions, places in space, planar movement, etc.
The Space category is currently under continuing development, more so since exploration of non-Euclidian geometry and physics has evolved.
Read more about this topic: Laban Movement Analysis
Famous quotes containing the word space:
“It is the space inside that gives the drum its sound.”
—Hawaiian saying no. 1189, ‘lelo No’Eau, collected, translated, and annotated by Mary Kawena Pukui, Bishop Museum Press, Hawaii (1983)
“The true gardener then brushes over the ground with slow and gentle hand, to liberate a space for breath round some favourite; but he is not thinking about destruction except incidentally. It is only the amateur like myself who becomes obsessed and rejoices with a sadistic pleasure in weeds that are big and bad enough to pull, and at last, almost forgetting the flowers altogether, turns into a Reformer.”
—Freya Stark (1893–1993)
“To play is nothing but the imitative substitution of a pleasurable, superfluous and voluntary action for a serious, necessary, imperative and difficult one. At the cradle of play as well as of artistic activity there stood leisure, tedium entailed by increased spiritual mobility, a horror vacui, the need of letting forms no longer imprisoned move freely, of filling empty time with sequences of notes, empty space with sequences of form.”
—Max J. Friedländer (1867–1958)