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| 001 | myd_91053 | ||
| 003 | ES-MaCDM | ||
| 005 | 20241001093008.0 | ||
| 008 | 181003s2012 stk||||fr 00| u|eng u | ||
| 040 | _aES-MaCDM | ||
| 100 | 1 |
_aSutil, Nicolás Salazar _d1937- |
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| 245 | 0 |
_aLaban's Choreosophical Model _cNicolas Salazar Sutil _bMovement Visualisation Analysis and the Graphic Media Approach to Dance Studies |
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_c2012 _aEdinburgh: _bEdinburgh University Press, |
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| 300 | _a22 p. | ||
| 520 | _aRESUMEN: This paper explores the impact Ridolf Laban´s graphic approach has had on movement analysis and an analytical approach to dance-movement based on an understanding of human motion as a collection of fixed points in a movement continuum. Central to thid approach is the idea that movement can be captured graphically for its analysis via different techniques of graphic representation: including drawing, 3D modelling, graph, diagrams and notation. The article also argues that graphic models play a key role in the development of Laban´s theory of harmonic space. Based on a series of geometric and topological models Laban Was able to develop a material method as part of his creative research on movement analysis. My claim is that Laban´s graphic approach encourages the use of visual media and technologies of graphic inscription as inventive methods for the better understanding of movement, which is why Laban´s thinking can be adequately recinceptualised using technologies like video and motion capture. As a unit of analysis, this article explores one of Laban´s most fundamental and yet least known material models: the spheric from. I argue that this medel present us with a much broader understanding of Laban´s movement analysis as a form of material thinking , and not only within the context of dance-training, but as part of a vision of the dance that complete in its philosophical perspectives, and which Laban called choreosophy. This article finishes with a brief examination of C8´s choreography "Solid Sense" (performed in 2011), which in the author´s opinion exemplifies, as creative research, some of the central preoccupations of Laban´s choreosophical studies. | ||
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_tDance Research _072889 _wmyd_16032 _gVol. 30, núm. 2, Winter 2012, p. 147 - 168 |
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_c126166 _d126166 |
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