Laban Movement Studies

Laban Movement Analysis (LMA), sometimes Laban/Bartenieff Movement Analysis, is a method and language for describing, visualizing, interpreting and documenting human movement. It is based on the original work of Rudolf Laban, which was developed and extended by Lisa Ullmann, Irmgard Bartenieff, Warren Lamb and others. LMA draws from multiple fields including anatomy, kinesiology and psychology. It is used by dancers, actors, musicians and athletes; by health professionals such as physical and occupational therapists and psychotherapists; and in anthropology, business consulting and leadership development.

Labanotation (or Kinetography Laban), a notation system for recording and analyzing movement, is used in LMA, but Labanotation is a separate system.

Laban Movement Analysis is generally divided into four categories:

Other categories, that are occasionally mentioned in some literature, are Relationship and Phrasing. These are less well defined. Relationship is the interaction between people, body parts or a person and an object. Phrasing is defined as being the personal expression of a movement.

These categories are in turn occasionally divided into Kinematic and Non-Kinematic categories to distinguish which categories relate to changes to body relations over time and space.

The body category describes structural and physical characteristics of the human body while moving. This category is responsible for describing which body parts are moving, which parts are connected, which parts are influenced by others, and general statements about body organization.

Several subcategories of Body are:

Effort, or what Laban sometimes described as dynamics, is a system for understanding the more subtle characteristics about movement with respect to inner intention. The difference between punching someone in anger and reaching for a glass is slight in terms of body organization – both rely on extension of the arm. The attention to the strength of the movement, the control of the movement and the timing of the movement are very different.

Effort has four subcategories (Effort factors), each of which has two opposite polarities (Effort elements).

Laban named the combination of the first three categories (Space, Weight, and Time) the Effort Actions, or Action Drive. The eight combinations are descriptively named Float, Punch (Thrust), Glide, Slash, Dab, Wring, Flick, and Press. The Action Efforts have been used extensively in some acting schools, including ALRA, Manchester School of Theatre, LIPA and London College of Music to train in the ability to change quickly between physical manifestations of emotion.

...
Wikipedia