Full Text Available
Note: Clicking the button above will open the full text document at the original institutional repository in a new window.
Perceiving screendance through a Laban Movement analysis lens
Screendance as an interdisciplinary practice influenced by the histories of cinema and dance, necessitates a vocabulary aimed specifically at perceiving it as an autonomous art form. This study is a qualitative, practice-based investigation into the ways in which Laban Movement Analysis (LMA) can co...
Saved in:
| Other Authors: | |
|---|---|
| Format: | Thesis |
| Language: | English |
| Published: |
University of Pretoria
2018
|
| Subjects: | |
| Tags: |
No Tags, Be the first to tag this record!
|
| _version_ | 1867613583779561472 |
|---|---|
| access_status_str | Open Access |
| author2 | Munro, Marth |
| author_browse | Munro, Marth |
| author_facet | Munro, Marth |
| collection | Thesis |
| dc_rights_str_mv | © 2018 University of Pretoria. All rights reserved. The copyright in this work vests in the University of Pretoria. No part of this work may be reproduced or transmitted in any form or by any means, without the prior written permission of the University of Pretoria. |
| description | Screendance as an interdisciplinary practice influenced by the histories of cinema and dance, necessitates a vocabulary aimed specifically at perceiving it as an autonomous art form. This study is a qualitative, practice-based investigation into the ways in which Laban Movement Analysis (LMA) can contribute to the development of a screendance vocabulary. The aim of this study is to observe and analyse the ways in which screendance utilises space. Observation within the context of LMA refers to recognising changes regarding the Body, Effort, Shape and Space patterns discernible in a mover. A perceptive observer will describe the mover’s emerging patterns through an application of the LMA taxonomy (Fernandes 2015:275). Therefore, this observational and analytical approach facilitates an awareness regarding the specific spatial, temporal and energetic qualities attributed to movements, gestures and expressions. The LMA system furthermore, observes and analyses how these movement sequences can become meaningful through various movement combinations (Baron & Carnicke 2008:204).
This study is located in the domain of screendance. It aims firstly to observe and analyse excerpts from These Three Rooms (McPherson 1992), Rosas danst Rosas (De Mey 1997) and CoNCrEte (Ginslov 2009) in order to demonstrate the efficacy of an LMA-based vocabulary for screendance. This observation and analysis address the mover’s performance in space. In addition, this process foregrounds the general observable LMA concepts (Body, Effort, Shape and Space) and camera movement, as well as the camera's relationship with the Kinesphere of the mover. This process of observation and analysis serves as an impetus for the second aim of this study, i.e. to interrogate the functionality and expressivity of LMA as a choreographic approach towards screendance. This application suggests a personal, self-reflexion on the creative process followed, as a means of creating a new and original screendance entitled Archi(na)ture (Prinsloo 2017). In order to validate this application of LMA, the study applies the two-layered framework of screendance observation and analysis to Archi(na)ture (Prinsloo 2017). The study concludes that screendance, and particularly space in screendance, is perceivable through LMA as a pragmatic vocabulary when creating screendance, in addition to observation and analysis. |
| format | Thesis |
| id | oai:repository.up.ac.za:2263/67877 |
| institution | University of Pretoria (South Africa) |
| language | English |
| last_indexed | 2026-06-10T12:38:27.571Z |
| license_str | Other — see source repository |
| provenance_str_mv | Harvested via OAI-PMH from UPSpace — University of Pretoria Institutional Repository |
| publishDate | 2018 |
| publishDateRange | 2018 |
| publishDateSort | 2018 |
| publisher | University of Pretoria |
| publisherStr | University of Pretoria |
| record_format | dspace |
| source_str | UPSpace — University of Pretoria Institutional Repository |
| spelling | oai:repository.up.ac.za:2263/67877 Perceiving screendance through a Laban Movement analysis lens Munro, Marth tarryntanille@gmail.com Broodryk, Chris Willem Prinsloo, Tarryn-Tanille Unrestricted UCTD Screendance as an interdisciplinary practice influenced by the histories of cinema and dance, necessitates a vocabulary aimed specifically at perceiving it as an autonomous art form. This study is a qualitative, practice-based investigation into the ways in which Laban Movement Analysis (LMA) can contribute to the development of a screendance vocabulary. The aim of this study is to observe and analyse the ways in which screendance utilises space. Observation within the context of LMA refers to recognising changes regarding the Body, Effort, Shape and Space patterns discernible in a mover. A perceptive observer will describe the mover’s emerging patterns through an application of the LMA taxonomy (Fernandes 2015:275). Therefore, this observational and analytical approach facilitates an awareness regarding the specific spatial, temporal and energetic qualities attributed to movements, gestures and expressions. The LMA system furthermore, observes and analyses how these movement sequences can become meaningful through various movement combinations (Baron & Carnicke 2008:204). This study is located in the domain of screendance. It aims firstly to observe and analyse excerpts from These Three Rooms (McPherson 1992), Rosas danst Rosas (De Mey 1997) and CoNCrEte (Ginslov 2009) in order to demonstrate the efficacy of an LMA-based vocabulary for screendance. This observation and analysis address the mover’s performance in space. In addition, this process foregrounds the general observable LMA concepts (Body, Effort, Shape and Space) and camera movement, as well as the camera's relationship with the Kinesphere of the mover. This process of observation and analysis serves as an impetus for the second aim of this study, i.e. to interrogate the functionality and expressivity of LMA as a choreographic approach towards screendance. This application suggests a personal, self-reflexion on the creative process followed, as a means of creating a new and original screendance entitled Archi(na)ture (Prinsloo 2017). In order to validate this application of LMA, the study applies the two-layered framework of screendance observation and analysis to Archi(na)ture (Prinsloo 2017). The study concludes that screendance, and particularly space in screendance, is perceivable through LMA as a pragmatic vocabulary when creating screendance, in addition to observation and analysis. Drama PhD Unrestricted 2018-12-05T08:05:46Z 2018-12-05T08:05:46Z 2009/05/18 2018 Thesis Prinsloo, T 2018, Perceiving screendance through a Laban Movement analysis lens, PhD Thesis, University of Pretoria, Pretoria, viewed yymmdd <http://hdl.handle.net/2263/67877> S2018 http://hdl.handle.net/2263/67877 en © 2018 University of Pretoria. All rights reserved. The copyright in this work vests in the University of Pretoria. No part of this work may be reproduced or transmitted in any form or by any means, without the prior written permission of the University of Pretoria. application/pdf University of Pretoria |
| spellingShingle | Unrestricted UCTD Perceiving screendance through a Laban Movement analysis lens |
| title | Perceiving screendance through a Laban Movement analysis lens |
| title_full | Perceiving screendance through a Laban Movement analysis lens |
| title_fullStr | Perceiving screendance through a Laban Movement analysis lens |
| title_full_unstemmed | Perceiving screendance through a Laban Movement analysis lens |
| title_short | Perceiving screendance through a Laban Movement analysis lens |
| title_sort | perceiving screendance through a laban movement analysis lens |
| topic | Unrestricted UCTD |
| url | http://hdl.handle.net/2263/67877 |