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[Jermale Kunstler]

If you want your students to take their character development to the next level, introduce them to Laban Movement. Laban Movement will provide them with a clear and understandable tool set that will enable them to grow their own movement vocabulary and discover new ways to physicalize character. This work is not just technical but spends time teaching the students to recognise and act upon creative impulse in the body.

Laban is named after Rudolf Laban , who was a movement theorist, a choreographer and a dancer. He is considered a pioneer of modern dance. Laban categorized human movement into four component parts:

Student actors have a hard time moving outside their own body. Every character they play, moves like they do. Introduce a process to students that gets them thinking about different ways to move. Then with every character they play, they have a vocabulary to draw from: Does this character move with a flicking movement? What weight does this character have? Am I bound or free?

Observational work: The actor can take time observing individuals and creatures in the world around them with an eye towards identifying the Eight Efforts within the movement and behaviour of the observed subjects. After careful observation and replication of the efforts, the actor can begin to apply what they observed to the creation of a character, borrowing elements of what they observed and rehearsed.

His text is made up of short quick words. This could be a clue to the actor to try vocally playing Dab in the voice and seeing how vocally playing the Effort affects the body and the physicality of the character.

Costuming: Finally, we can play around with costuming. What kind of costume is the actor called upon to wear or how does the period clothing inform the actor as to what effort to play?

By experimenting with the Laban Efforts and ways to interpret them, you can create a language to give your students to get them out of their bodies, out of their shells and into a new physicalization.

Beth Lewis has been infatuated with movement as long as she can remember. She grew up in small town in South Georgia where she was a competitive gymnast, swimmer, dancer, soccer player and martial artist. Her heart was set to dance as she graduated from The University of Georgia with a BFA in Dance Performance. After graduation, Beth moved to Atlanta where she fell in love with training and fitness.

Training took a pause as she had the opportunity to dance for Pilobolus Dance Theater. After four years of touring internationally, Beth decided to make New York City her home and to get back into training. Beth is currently a Strength Coach at Body Evolved in Manhattan. She works with a wide variety of humans ranging from athletes to post op clients. Beth is a founding instructor for Cityrow where she teaches instructor education and writes programming. She is a Kinstretch instructor throughout NYC and travels to teach both domestic and international workshops.

I was in a whole different dance world. I worked for a company called Pilobolus Dance Theater, founded in the early 1970s by a bunch of scientists. And the movement was based on a technique called weight sharing. So basically based on physics.

Not well at all. And I only recently found out why from talking to someone who still works with the company. Which she explained it as, we all get together and then we just experimented and we found things that we could all do because of our unique everything. Strength, body size, weight, I mean, all of these things.

And I got my dance job. I was living in Atlanta. I moved to New York. I came off the road and I just took a deep dive into training. I did a ton of continuing education from performance training with a company called EXOS. I also did, I did bodybuilding and powerlifting, I dabbled at some Olympic lifting.

Yeah. Yeah. Yeah. I mean, I spent a good 30 years of my life trying to, and still to this day, still opening that up in a relaxed way. So, that was a deliberate thing that got developed from the requirements of the sport.

Right. I have to shout out my mom though. She took, I tell the jump rope course, I guess like four weeks ago. It was all about feet. So, we used toe spacers and how to load differently and just different working, loading tolerance. My mom is 72 and she did 20 skips consecutively.

And so, I never thought about, just we develop these little, protective things, sprain our ankle and we try to keep ourself from doing something like that again, which is this negative cycle of turning your brain off from being able to get that motion back, which is what you would need to do to heal.

You can engage with this. If you have any questions or recommendations, people you think we should have a conversation with or something I should rant about, because I do those things too, drop me an email [email protected].

Again, as I said, this is all about you spreading the word about the value, and benefits, and fun of natural movement. So, do that. If you want to be part of the tribe, as I said, please subscribe. But most importantly, make it simple. Just go out, have fun and live life feet first.

We'll be breaking through the mythology, confusion and sometimes outright lies about what it takes to walk, run, hike, do yoga, paddle board, lift... or whatever you do. I'm here to help you do it better and have more fun.It's called The MOVEMENT Movement because We're creating a movement. Making natural movement to the obvious choice the way natural FOOD is currently.

Rudolf Laban (1879-1958) was born in Austro-Hungary. Laban was a dancer, a choreographer and a dance / movement theoretician. One of the founders of European Modern Dance, his work was extended through his most celebrated collaborators, Mary Wigman, Kurt Jooss and Sigurd Leeder. Through his work, Laban raised the status of dance as an art form, and his explorations into the theory and practice of dance and movement transformed the nature of dance scholarship.

He established choreology, the discipline of dance analysis, and invented a system of dance notation, now known as Labanotation or Kinetography Laban. Laban was the first person to develop community dance and he has set out to reform the role of dance education, emphasising his belief that dance should be made available to everyone.

In 1948 Laban began its life as the Art of Movement Studio in Manchester, and moved to Addlestone in Surrey due to expansion in 1953. Five years later Rudolf Laban died. In 1973, on the retirement of Lisa Ullman, Marion North became Head of School (Principal and Director), followed by Bonnie Bird, Artistic Director, who joined the Art of Movement Studio in 1974. The Art of Movement Studio was renamed Laban Centre for Movement and Dance in 1975, and moved to new premises in New Cross, South East London.

Rudolf Laban (1879-1958) was the son of a high ranking military figure in the Austro-Hungarian empire. He spent much of his time in Bosnia and Herzigovina, in the towns of Sarajevo and Mostar as well as the court circle in Vienna and the theatre life of Bratislava. He was educated in both western and eastern cultures.

In 1919 his major career in Germany began. Rudolf Laban ran a dance theatre company, a chamber dance theatre company and opened a main school, a movement choir for amateurs, wrote articles and books, performed, and created dance works.

In 1927, he moved to Berlin, opening the Choreographisches Institut. By 1929, his 50th birthday celebrations show that he was at the height of an influential career, not only as a leader of the Ausdrucktanz movement, but as a recognised intellectual in the field of dance theatre and movement study.

He was appointed director of movement and choreographer to the Prussian State Theatres in Berlin in 1930. In 1934, in a Nazi Germany, he was appointed director of the Deutsche Tanzbhne. Falling foul of Nazism in 1936 while at the height of his career, his name and work was destroyed by the Government Propaganda Ministry. Many of his followers emigrated, especially to the United States, and in 1938 he took refuge in Britain.

At the age of sixty, supported by Lisa Ullmann, he started a new phase in his career. He worked in industry, introducing work study methods to increase production through humane means, and greatly influenced the movement education culture in Britain opening, through Lisa Ullmann, The Art of Movement Studio in Manchester in 1946.

In 1953 the studios moved to a donated country estate in Addlestone. In his last years he concentrated on movement as behaviour, studying the behavioural needs of industrial workers and psychiatric patients. This enabled him to lay the technical basis for what is now the profession of movement and dance therapy, and a basis for the expressive movement training of actors.

Rudolf Laban was in poor health most of his life suffering from what we would now call spasmodic manic depression, which appeared during and after excessive creative endeavour and after what he perceived as rejection of his ideas. He was poor throughout his career, and never owned a home or possessions beyond his working papers. He married twice and fathered nine children, although his family life ceased when his career took off in 1919. He developed and relied on a series of apprentices to follow through his ideas, Mary Wigman being the first, Marion North being the last.

He asked himself what was the equivalent of the visual arts revolution for the movement arts? He abandoned the constraints of traditional steps, the reliance on music to inspire and structure dance, the need to mime a story to reveal a body, freed to find its own rhythms, create its own steps and revel in the medium of space. Der Freier Tanz was born.

Rudolf Laban wrote articles and books and formed dance choirs of young male and female performers in his endeavour to introduce a contemporary mass dance culture for urban populations. He created dance works of a celebratory and participatory nature which often dealt in abstract terms with a social and spiritual agenda to educate socially aware dancers.

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