Philosopher, dancer, fine-artist, choreographer, teacher, theorist, advisor and behaviourist, having been all these things and probably more, Rudolf Laban defies categorisation. According to many experts though, he is without doubt a leading founder of European Modern Dance; the irony in my view being, that this becomes more evident with every passing year since his death.
He was born in Hungary but was hardly ever there. Much of his youth was spent in the Middle and Far East; later he travelled constantly throughout Europe and became multi-lingual.
Laban's life spanned the two world wars and was most convoluted. Initially he trained in fine-art, his stab at a military career having been unsuccessful, much to his rather orthodox and stern father's chagrin. Human movement expression however, was to become Laban's foremost interest, and by the end of his life, apart from a pioneer of modern dance, he was a renowned dance theorist and movement analyst.
Laban's Movement Analysis
He is particularly known today for his in-depth movement notation: Labanotation also called Kentographie Laban. It is capable of recording all forms of movement, dance and natural. Aside from physical artistic expression his movement analysis also influenced other areas of human activity such as the teaching of physical education, as an aid for assessing candidates at job interviews and in helping to identify safe and efficient movement practices when undertaking physical work. This last was in an official capacity for the British Government's war effort.
Modern Dance Pioneer
Between the two world wars, Laban choreographed numerous ballets, performing, touring and teaching across Europe as a freelance artist with increasing success. Establishing dance schools in most of the major European cities, by the 1930s he held prominent Directorships for the German and Berlin state theatres and was choreographer for large productions and festivals, including the 1936 Olympic Games.
The Laban Centre
Laban came to England to escape the Nazis in 1939 and established the Laban Art of Movement Studio in Manchester, which was later re-sited to New Cross, London in 1975 and re-named the Laban Centre for Movement and Dance.
Laban's Legacy
His artistic insights and ideas were passed onto actors, directors, dancers and choreographers alike and his influence continues over the years. For example, pupils of Laban's pupils include choreographers Hanya Holm, Alwin Nicolai and Pina Bausch and British directors such as Bill Gaskill and Peter Gill. With such a legacy it remains a little strange that he is not as well known today, although in part this may be due to the virtual and transient nature of his subject matter. By all accounts Laban was not a trained scholar either, and a little haphazard in recording his observations and theories to the extent that he never really did lay claim to much of his intellectual property when alive.
Laban's Effort Theory
I was first introduced to many of Laban's ideas as a student at the Laban Centre by Valerie Preston-Dunlop, herself a student of Rudolf Laban and leading expert. I was particularly intrigued with his theory on effort. This wonderful observation can be applied across every art form. There isn't one that wouldn't reap its benefits. I first used it to intoxicating effect when I was learning to choreograph.
Laban's effort theory first provides a language that in turn assists the eye, mind and body to understand, observe and use it. It can be represented as a graph which is also a notation tool.
Effort Types
With physical movement, effort occurs in the body over time and through space. Laban analysed the different types of effort that are used for physical expression. He identified these as being connected with:
- Weight
- Flow
- Time
- Space
Effort Continuums
For each effort type he specified a continuum with polar opposites.
- For Weight: light to heavy
- For Flow: free to bound
- For Time: sudden to sustained
- For Space: flexible to direct
Between these extremes there is gradation. In practice, along the Weight continuum for example: very light, light, less light, not light or heavy, (it is therefore not significant or apparent,) a little heavy, more heavy, heavy, very heavy.
Effort Graph Notation
The Effort Graph in the first diagram shows how the effort theory is written. The oblique line is the marker that allows for individual effort types to be notated. It is impossible for one person to embody all of them simultaneously, but a group of people might. Quite commonly one person may demonstrate two or three together. For example, gestures in everyday movement that are light and free may be associated with happiness. Heavy and bound might be sad or if very direct, angry. To show where on the continuum the effort type is, or how much or how little, the + and - signs are used. The second diagram demonstrates how the effort symbols may be used as notation.
Effort Theory as Choreographic Tool
That is the theory explained in simple terms, but to put even this into practice as a dancer takes a lot of training both for the eye and for the body. At the Laban Centre I remember being trained not to rely on music to assist with mood or feeling but to develop an inner dynamic awareness. We were also taught to observe effort or dynamic when watching dance and to use it as a choreographic tool.
With even a basic practical understanding, there's lots of fun to be had exploring phrases of movement using different combinations of effort extremes without changing a single step, space pattern or level. Dance phrases performed as free, light and flexible will look totally different if done as sudden, direct and strong, or in other words, soft, lyrical and lilting becomes rapid, regimented and grounded. With practice it is simply magical to watch the transformation and of course other variations are waiting to be discovered.
Effort Theory as Enabler for all Art Forms
Laban's effort theory also provides a language and insight across all art forms. Changes in effort, dynamic or energy, whichever word suits the medium, will have a profound effect. To alter the effort range will affect the mood or cohesion of a piece. Is it too rapid and confusing or very slow and predictable? Is it overly ponderous or a bit glib, tediously direct or lacking focus? If there is strength is it mixed with bound flow - tension, or free flow - passion? Sometimes the answer may lay in the distribution of effort range alone.
Whilst attending an event recently at a music college, I was intrigued to discover on the classroom whiteboard Laban's effort theory. Music students were obviously being made aware of dynamic range. It was good to see that Laban's amazing theories are still permeating through and just might be gathering pace.
Sources:
- Bradley, Karen K. Rudolf Laban, 1st ed. UK: Routledge Abingdon, Oxon, 2009.
- Hodgson, John. Mastering Movement, The Life and Work of Rudolf Laban, 1st ed. USA & Canada: Routledge New York, 2001.
Linda Noon - "Go confidently in the direction of your dreams. Live the life you have imagined." Henry David Thoreau (1817 - 1862)
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