Diss.--Köln--Deutsche Sporthochschule, 2002.

This thesis is a practitioner’s perspective on the field of movement studies initiated by the European artist-researcher Rudolf Laban (1879-1958) and its particular context in Brazil. Not only does it examine the field of knowledge that Laban proposed alongside his collaborators, but it considers the voices of Laban practitioners in Brazil as evidence of the contemporary practices developed in the field. As a modernist artist and researcher Rudolf Laban initiated a heritage of movement studies focussed on investigating the artistic expression of human beings, which still reverberates in the work of artists and scholars around the world. Thus my research is shaped by an investigation into the experience of the field’s practitioners, and how their activities shape the materialisation of Laban’s discourse nowadays. In this sense, not only their experience but also my own (as a Laban-practitioner myself) were the main materials and sources for my investigation. From this material I asked questions regarding the landscape of Laban practices in Brazil and the contemporaneity of Laban’s discourse. To develop this study I initiated an oral history project (collecting narratives from Brazilian practitioners), which evolved into an ethnography of the international and Brazilian field of Laban studies. In fact my intense participation and individual exploration of Laban praxis shaped my methods to articulate an embodied debate of the field. As a ‘history of the present’ based on individual and collective experiences, this study draws on Foucault to drive a critical perspective on the material and to finally debate the authorship of Laban’s discourse. This thesis thus starts with an overview of Laban studies. It then narrows down to consider the scape of Laban practices in Brazil, detailing the work of three local artists. While submerging myself in the field’s practices and theories and the lives of the Brazilian Laban-practitioners, I found that the work that is developed outside the United-States and European circle of practice and research may provide clues for a valuable understanding of the materiality of Laban’s discourse in the twenty-first century. Thus, this study proposes that practitioners who are engaged with the (constant) development of Laban studies can potentially be considered as (co-)authors of Laban praxis as it emerges in Brazil and worldwide.

People and animals use various kinds of motion in a multitude of ways to communicate their ideas and affective states, such as their moods or emotions. Further, people attribute affect and personalities to movements of even abstract entities based solely on the style of their motions, e.g., movement of a geometric shape (how it moves about) can be interpreted as being shy, aggressive, etc. In this thesis, we investigated how flying robots can leverage this locomotion-style communication channel for communicating their states to people. One problem in leveraging this style of communication in robot design is that there are no guidelines, or tools that Human-Robot Interaction (HRI) designers can leverage to author affect communicating locomotion paths for flying robots. Therefore, we propose to adapt the Laban Effort System (LES), a standard method for interpreting human motion commonly used in the performing arts, to develop a set of guidelines that can be leveraged by HRI designers to author affective locomotion paths for flying robots. We further validate our proposed approach by conducting a small design workshop with a group of interaction designers, where they were asked to design robotic behaviors using our design method. We conclude this thesis with an original adaption of LES to the locomotion path of a flying robot, and a set of design guidelines that can be leveraged by interaction designers for building affective locomotion path for a flying robot.

People and animals use various kinds of motion in a multitude of ways to communicate their ideas and affective states, such as their moods or emotions. Further, people attribute affect and personalities to movements of even abstract entities based solely on the style of their motions, e.g., movement of a geometric shape (how it moves about) can be interpreted as being shy, aggressive, etc. In this thesis, we investigated how flying robots can leverage this locomotion-style communication channel for communicating their states to people. One problem in leveraging this style of communication in robot design is that there are no guidelines, or tools that Human-Robot Interaction (HRI) designers can leverage to author affect communicating locomotion paths for flying robots. Therefore, we propose to adapt the Laban Effort System (LES), a standard method for interpreting human motion commonly used in the performing arts, to develop a set of guidelines that can be leveraged by HRI designers to author affective locomotion paths for flying robots. We further validate our proposed approach by conducting a small design workshop with a group of interaction designers, where they were asked to design robotic behaviors using our design method. We conclude this thesis with an original adaption of LES to the locomotion path of a flying robot, and a set of design guidelines that can be leveraged by interaction designers for building affective locomotion path for a flying robot.

111f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-03-20T18:00:29Z No. of bitstreams: 1 AntonioSeg.pdf: 1112619 bytes, checksum: 37867349faf4e2d4c9ddd3c79a4fc29e (MD5) / Approved for entry into archive by Rodrigo Meirelles(rodrigomei@ufba.br) on 2013-03-23T14:34:27Z (GMT) No. of bitstreams: 1 AntonioSeg.pdf: 1112619 bytes, checksum: 37867349faf4e2d4c9ddd3c79a4fc29e (MD5) / Made available in DSpace on 2013-03-23T14:34:27Z (GMT). No. of bitstreams: 1 AntonioSeg.pdf: 1112619 bytes, checksum: 37867349faf4e2d4c9ddd3c79a4fc29e (MD5) Previous issue date: 2006 / Sistema Laban/Bartenieff na Formação do Ator Contemporâneo. Para tanto, utiliza-se, além de estudos acerca deste Sistema, feitos por pesquisadores em diferentes áreas, teorias e práticas como a Educação Somática e a abordagem intitulada Movimento Genuíno – afins e contribuintes para o entendimento dessa proposta. Como metodologia, utilizou-se além de pesquisa bibliográfica, três momentos práticoteóricos de investigação: com alunos em sala de aula, com quatro atrizes em sala de ensaio, e na criação e apresentação de um solo a partir do conto “O Grande Passeio” de Clarice Lispector. Cada um deles foi descrito, analisado e discutido mediante a Expressividade do ator e seu “corpo subjetivado”. Estratégias de abordagem desse Sistema junto a atores foram formuladas, respondendo a um dos objetivos específicos dessa investigação. Além de uma discussão acerca da contribuição desse Sistema ao intérprete cênico, através de um diálogo direto entre aplicações práticas e teóricas. Como última etapa desse processo, foi apresentado um resultado prático-solo com vistas a ressaltar uma das contribuições desta pesquisa que é aliar teoria e prática na construção de um conhecimento artístico. / Salvador

245f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-04-01T14:14:01Z No. of bitstreams: 1 SCIALOM.pdf: 1212175 bytes, checksum: bad37d6311f6d41d603da0013c1a9a0f (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães(ednaide@ufba.br) on 2013-04-10T13:58:26Z (GMT) No. of bitstreams: 1 SCIALOM.pdf: 1212175 bytes, checksum: bad37d6311f6d41d603da0013c1a9a0f (MD5) / Made available in DSpace on 2013-04-10T13:58:27Z (GMT). No. of bitstreams: 1 SCIALOM.pdf: 1212175 bytes, checksum: bad37d6311f6d41d603da0013c1a9a0f (MD5) Previous issue date: 2009 / Este estudo se configura em uma exploração sobre o Universo de Rudolf Laban e o Panorama brasileiro dos artistas-pesquisadores que utilizam desse Universo como suporte para suas pesquisas, ações e atuações. Através da busca genealógica na vida-obra do mestre da Arte do Movimento em seu material bibliográfico e nas obras de seus discípulos, foram delineados a pessoa, o artista, o cientista e o filósofo de Rudolf Laban. O olhar sobre o material de referência e os universos singulares coletados na pesquisa de campo, foi conduzido com o suporte da Genealogia Histórica de Foucault, da Hermenêutica de Hans-Georg Gadamer e do Olhar Sensível de Maurice Merleau-Ponty, como também dialogando diversos estudos que se debruçam sobre a historiografia em dança. A partir de tais aportes teóricos, foi organizado e discutido o aspecto geral do panorama nacional de estudos labanianos. Associando a pesquisa teórica à pesquisa prática, o desenvolvimento do processo de pesquisa aconteceu de forma a referenciar o próprio Universo labaniano de miscigenação entre pensamento e movimento. A metodologia se desenvolveu acompanhando a forma geométrica do tetraedro, assumindo quatro vértices que foram aplicados concomitantemente: Pesquisa Teórica, Pesquisa de Campo (entrevistas), Laboratórios e Escrita Dinâmica. Para materializar os percursos artísticos-teóricos-práticos, foi construída uma árvore genealógica mestre-discípulo que ilustra bidimensionalmente a disposição tridimensional da configuração do conjunto contemporâneo.Em seguida, foram discutidos e debatidos pontos críticos revelados através do estudo, argumentando a legitimização do panorama apresentado através da ponte passado tempoespaço presente. / Salvador

Rudolf Laban: Father of Modern dance, revolutionary within the field of movement studies, and inventor of Labanotation. His work is so universal it has been applied to dancing, acting, industrial work, and movement therapy. This thesis will specifically discuss the use of his system as it applies to actor training. However before that it is important for me as a teacher to understand the potential ideologies and historical implications that are associated with a theory or body of work before passing it on, lest we unknowingly propagate a system of thought that is associated with destructive ideologies. This becomes particularly significant in the case of Laban. From 1933 until 1936 Laban’s movement analysis and choreographic skills were an integral and leading part of the Reich Chamber of Culture’s division of dance. Many of his contemporaries labeled him a Nazi, and many scholars today struggle to extricate his work from the Nazi stain. If his work, as his contemporaries claimed, was fascist in nature and his work was uniquely expressive of the German volk, as Goebbels had instructed him it should be, then we as teachers have a moral obligation to be judicious in our applications of his system. Therefore in this thesis I will first examine the time Laban spent working for the Third Reich, and only after concluding that his actual system of understanding movement had little to do with the politics during that time of his life will I then go on to discuss how Laban Movement Analysis can be an integral tool for actor training, and discuss the ideologies that I, as a teacher, bring to the table.

"Identity: An Expression of Life Through Dance" is a reflection on the process of choreographing and performing a series of dances based on self-discovery and research on innovators of dance and their techniques.

Inspirée des théories sur l'Effort-Shape et l'Harmonie de l'Espace développées par Rudolf Laban, analyste et théoricien du mouvement, j'ai tenté, à travers cette recherche, de développer des outils d'interprétation basés sur les concepts de kinésphère et de dynamosphère. Très brièvement, la kinésphère se réfère au corps fonctionnel, utilitaire, renvoyant aux formes extérieures du mouvement, aux trajets dessinés dans l'espace, aux tensions spatiales, aux connexions corporelles ainsi qu'à une précision technique du corps en mouvement. La dynamosphère, quant à elle, renvoie principalement au corps expressif et émotif permettant un rapport étroit avec l'intériorité et l'impulsion spontanée. À l'inverse de la kinésphère, la dynamosphère mise sur le contenu émotif et le processus du mouvement pour créer diverses nuances dynamiques et maximiser les transitions entre les mouvements. En ce sens, la dynamosphère manifeste un type de présence physique qui se perçoit et se ressent à travers l'expressivité et le vécu émotif qui sont, en réalité, l'essence même de l'espace dynamique qu'elle suscite. La kinésphère, quant à elle, dévoile plus précisément la structure de la pièce par le rayonnement des lignes, des formes et des trajets suscités dans le déploiement kinesthésique du corps et ses membres, appelant dès lors un espace géométrique et objectif. Afin de comprendre et de solidifier différentes approches du mouvement, j'ai interprété deux fois la chorégraphie Arlequin de Cayenne, selon des visées particulières. D'abord en priorisant la kinésphère, ensuite la dynamosphère et ce, sans modifier le discours chorégraphique. Le spectateur devenait dès lors, témoin des particularités d'applications de chacun des concepts. Ainsi, pourrait-on penser que la qualité de présence était différente selon le choix de l'exécution? Il est important de noter que cette étude qualitative est d'abord et avant tout un exercice d'interprétation mettant en scène une danseuse dans des situations d'interprétation à la fois diverses, précises et subtiles. De plus, il s'agissait pour moi de comprendre et de retracer les chemins corporels qui me permettaient de prioriser l'un et l'autre des deux concepts afin d'être en mesure de les reproduire dans l'immédiat de la scène, avec toujours autant d'intensité que la première fois. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Kinésphère, Dynamosphère, Laban, Effort-shape, Harmonie de l'espace, Interprétation, Danse contemporaine.

164 f. / Submitted by RI Repositorio (repositorio@ufba.br) on 2012-04-12T13:12:42Z No. of bitstreams: 1 dissertacao-guilherme-bertissolo.pdf: 25827427 bytes, checksum: cca54d03e479e10a2e9e94f14d204a78 (MD5) / Made available in DSpace on 2012-04-12T13:12:42Z (GMT). No. of bitstreams: 1 dissertacao-guilherme-bertissolo.pdf: 25827427 bytes, checksum: cca54d03e479e10a2e9e94f14d204a78 (MD5) Previous issue date: 2009-03-18 / Esta dissertação propõe um relato a partir da investigaçãoo sobre as diversas possibilidades de relação dialógica entre a composicão musical (e alguns de seus sistemas) e o movimento dançado (a partir de noções abordadas pelo Sistema Laban/Bartenieff ), que culminou na criação da obra interdisciplinar Noite, buscando um olhar no contexto de um novo paradigma. / Salvador