When it comes to actor training in higher education, an extremely strong emphasis is placed on understanding the voice and interpreting the text. While some institutions do incorporate movement courses into the curriculum of the students, many do not serve the learning actor in the most effective way. The work of Rudolf Laban is a way to strengthen the curriculum taught to actors, specifically in regards connecting actors to their bodies. This thesis discusses and analyses the use of Laban’s movement theory in the movement classroom, and focuses on the most effective way of presenting the material to the student. Included is research on Laban’s theories, the structure of a Laban for the actor course, feedback from participants, exercises crafted to better suit the learning actor, and connections to other acting and movement practitioners. The aim is to provide actors with a well-rounded toolbox that will assist them in creating more dynamic and livable characters. This thesis hopes to serve as a guide for both instructors of movement and students alike, providing all with a resource to refer to when working with the body on or off the stage.

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.

The study aimed to identify and understand the phenomenon of group processes comparing two Personal Development (PD) group modalities. One group mainly used verbalisation and the other mainly used movement for interaction and self-expression. Group processes were expressed through the analysis of the participant's non-verbal movements and the verbal expressions of their experience in the group. The thesis of this study was that group processes can be expressed and identified through movement and verbal expressions. This study built on previous studies that have explored group processes in both Dance Movement Psychotherapy (DMP) and in Verbal Group Psychotherapy fields in relation to PD groups. Two theoretical frameworks that underpinned this study were: DMP as group work and Group Psychotherapy with the primary focus on group processes in PD groups. These theories were selected for their pertinence to the understanding of group processes and PD groups. The comparison between the groups intended to answer the study's question: which group processes as expressed verbally and non-verbally in movement can be identified in a dance movement PD group compared with a verbal PD group? Qualitative hermeneutic phenomenology methodology was employed in this study in order to answer the above question using two collection and analysis methods: movement observation using Laban Movement Analysis (LMA) and a thematic analysis of participants' verbal reflections in semi-structured interviews. The findings of the study have shown which group process developed in each of the PD groups identified through the two collections methods. For instance, they were conflict, rivalry, trust, intimacy and cohesion. The analysis of the DM PD group has shown differences in findings between that which the movement observation identified and that which participants described in the interviews. The study aimed to contribute to the body of knowledge regarding group processes in DMP and group psychotherapy theory and research. Exploring group processes through the use of movement and verbalisation adds to the professional development and training in both fields. The study outcome offers an original contribution to practice, through the development of a group work guide for facilitators, derived from the group processes conceptual model. It represents a new way of understanding group processes and dynamics through the observation of a group's movements and verbal reflections by participants. This guide is aimed at supporting facilitators of PD groups when considering interventions both when leading groups and when reflecting on the groups' processes.

Este é um memorial descritivo e dissertativo da investigação artística feita através da utilização da Motif Writing (escrita por motivos) como propulsora de tarefas de movimento para a construção de dramaturgia em dança. A coreografia que resultou deste processo, A Cadeira _/ Uma Ilha, foi criada a partir da Motif Writing de um trecho do solo Experimento da Cadeira, visando a recriação e a multiplicação das qualidades expressivas dos movimentos do motif em outros corpos/sujeitos e relações dinâmicas entre estes, objetos, espaço e tempo. A pesquisa-criação conta com a participação das bailarinas Juliana Vicari e Luciana Hoppe, transformando o solo original em um trio. A escrita do motif relativo ao trecho selecionado da obra de referência utiliza o instrumental da Análise Laban de Movimento como ferramenta metodológica utilizada também para a condução do processo de criação. Inserido num contexto de pesquisa pós-positivista, com perspectiva artística, este memorial contém aspectos dissertativos sobre a Análise Laban em Movimento e a dramaturgia da dança como aportes para o relato do processo de criação. Ambos ajudam a compreender algumas das opções de trabalho buscadas e alcançadas, ou não, nesta investigação. Ao final deste texto comprovo a eficácia da motif writing tanto como ferramenta para reposição como para recriação da dramaturgia da obra de referência e que uma construção através deste procedimento requer a auto-revelação dos artistas. Descubro a 'reduplicação do Outro em mim‘ como potência criadora e afirmativa da minha ação como intérprete. / This thesis describes the creative and analytical process I used to develop choreography for three dancers called The Chair_/ An Island. I developed this trio choreography from one fragment of an earlier solo choreography called Chair Experiment, using an aspect of Laban Movement Analysis called "motif writing". I used this method as a score to multiply the original motifs into other bodies/subjects, objects, spaces, and time. My work was done in Brazil in collaboration with two other dancers, Juliana Vicari and Luciana Hoppe. From a post-positivist approach and artistic perspective, this thesis describes features of Laban Movement Analysis and Dance Dramaturgy which enhance the creative process. Both help us to understand possible choices and directions which are available to us when creating a choreography. I conclude that motif writing is efficient as a movement score for dramaturgy composition or reposition and that the use of this procedure encourages the artists for a self revelation. I found the 'reduplication of the Other in myself‘ as a creative potential and affirmative way as a performer.

Este é um memorial descritivo e dissertativo da investigação artística feita através da utilização da Motif Writing (escrita por motivos) como propulsora de tarefas de movimento para a construção de dramaturgia em dança. A coreografia que resultou deste processo, A Cadeira _/ Uma Ilha, foi criada a partir da Motif Writing de um trecho do solo Experimento da Cadeira, visando a recriação e a multiplicação das qualidades expressivas dos movimentos do motif em outros corpos/sujeitos e relações dinâmicas entre estes, objetos, espaço e tempo. A pesquisa-criação conta com a participação das bailarinas Juliana Vicari e Luciana Hoppe, transformando o solo original em um trio. A escrita do motif relativo ao trecho selecionado da obra de referência utiliza o instrumental da Análise Laban de Movimento como ferramenta metodológica utilizada também para a condução do processo de criação. Inserido num contexto de pesquisa pós-positivista, com perspectiva artística, este memorial contém aspectos dissertativos sobre a Análise Laban em Movimento e a dramaturgia da dança como aportes para o relato do processo de criação. Ambos ajudam a compreender algumas das opções de trabalho buscadas e alcançadas, ou não, nesta investigação. Ao final deste texto comprovo a eficácia da motif writing tanto como ferramenta para reposição como para recriação da dramaturgia da obra de referência e que uma construção através deste procedimento requer a auto-revelação dos artistas. Descubro a 'reduplicação do Outro em mim‘ como potência criadora e afirmativa da minha ação como intérprete. / This thesis describes the creative and analytical process I used to develop choreography for three dancers called The Chair_/ An Island. I developed this trio choreography from one fragment of an earlier solo choreography called Chair Experiment, using an aspect of Laban Movement Analysis called "motif writing". I used this method as a score to multiply the original motifs into other bodies/subjects, objects, spaces, and time. My work was done in Brazil in collaboration with two other dancers, Juliana Vicari and Luciana Hoppe. From a post-positivist approach and artistic perspective, this thesis describes features of Laban Movement Analysis and Dance Dramaturgy which enhance the creative process. Both help us to understand possible choices and directions which are available to us when creating a choreography. I conclude that motif writing is efficient as a movement score for dramaturgy composition or reposition and that the use of this procedure encourages the artists for a self revelation. I found the 'reduplication of the Other in myself‘ as a creative potential and affirmative way as a performer.

Este é um memorial descritivo e dissertativo da investigação artística feita através da utilização da Motif Writing (escrita por motivos) como propulsora de tarefas de movimento para a construção de dramaturgia em dança. A coreografia que resultou deste processo, A Cadeira _/ Uma Ilha, foi criada a partir da Motif Writing de um trecho do solo Experimento da Cadeira, visando a recriação e a multiplicação das qualidades expressivas dos movimentos do motif em outros corpos/sujeitos e relações dinâmicas entre estes, objetos, espaço e tempo. A pesquisa-criação conta com a participação das bailarinas Juliana Vicari e Luciana Hoppe, transformando o solo original em um trio. A escrita do motif relativo ao trecho selecionado da obra de referência utiliza o instrumental da Análise Laban de Movimento como ferramenta metodológica utilizada também para a condução do processo de criação. Inserido num contexto de pesquisa pós-positivista, com perspectiva artística, este memorial contém aspectos dissertativos sobre a Análise Laban em Movimento e a dramaturgia da dança como aportes para o relato do processo de criação. Ambos ajudam a compreender algumas das opções de trabalho buscadas e alcançadas, ou não, nesta investigação. Ao final deste texto comprovo a eficácia da motif writing tanto como ferramenta para reposição como para recriação da dramaturgia da obra de referência e que uma construção através deste procedimento requer a auto-revelação dos artistas. Descubro a 'reduplicação do Outro em mim‘ como potência criadora e afirmativa da minha ação como intérprete. / This thesis describes the creative and analytical process I used to develop choreography for three dancers called The Chair_/ An Island. I developed this trio choreography from one fragment of an earlier solo choreography called Chair Experiment, using an aspect of Laban Movement Analysis called "motif writing". I used this method as a score to multiply the original motifs into other bodies/subjects, objects, spaces, and time. My work was done in Brazil in collaboration with two other dancers, Juliana Vicari and Luciana Hoppe. From a post-positivist approach and artistic perspective, this thesis describes features of Laban Movement Analysis and Dance Dramaturgy which enhance the creative process. Both help us to understand possible choices and directions which are available to us when creating a choreography. I conclude that motif writing is efficient as a movement score for dramaturgy composition or reposition and that the use of this procedure encourages the artists for a self revelation. I found the 'reduplication of the Other in myself‘ as a creative potential and affirmative way as a performer.

No description available.

Addressing the comprehensive needs of individuals with brain injuries is a growing concern in brain injury rehabilitation as well as evaluating the efficacy of these conventional therapeutic modalities: cognitive rehabilitation, and physical, occupational, and speech therapies. Therapeutic dance/movement has not been an integral part of these core services. I have observed its potential, however, during the past thirteen years while providing this intervention to individuals with brain injuries. The focus of this dissertation was to gain a better understanding of the dynamics of a therapeutic dance/movement intervention for individuals with brain injuries by comparing it to conventional physical therapy. Physical therapy, given its longevity in providing rehabilitative services to individuals with brain injuries, afforded a means by which to more systematically explore therapeutic dance/movement. Five individuals with brain injuries were observed and analyzed as they participated in five weekly therapeutic dance/movement sessions and five weekly physical therapy sessions. Laban Movement Analysis (LMA) was used as the observation and analytic tool for the purpose of elucidating similarities and differences between the two interventions in relation to the five case studies. Two questions guided the inquiry: (a) What are the similarities and differences between a physical therapy intervention and a dance/movement intervention? and (b) What are the dynamics of a therapeutic dance/movement intervention? Findings revealed that the physical therapy intervention focused specifically on body level connectivity and single joint action movement from a <i>Body</i> perspective. In comparison, the dance/movement intervention incorporated body level connectivity in addition to the dynamics of <i>Breath/Core Support</i> and <i>Grounding</i>, <i>Effort-Life</i>, <i>Spatial Intent</i>, and Aspects of <i>Shape</i>, providing the spectrum of <i>Body</i>, <i>Effort</i>, <i>Space</i>, and <i>Shape</i> ( <i>BESS</i>) components in harmony with the <i>Movement Themes: Whole/Part, Inner/Outer, Function/Expression, Exertion/Recuperation</i>, and <i>Mobility/Stability</i>.The dance/movement intervention imparted an integrative mind-body approach to learning about one's Inner and Outer self and one's ability to cope with and connect to one's environment. Knowledge was added to the current literature at an opportune time in the brain injury rehabilitation field. Rehabilitation professionals are recognizing the need to transform current assumptions regarding the essential aspects of brain injury rehabilitation and seek additional non-medical model approaches to rehabilitation. This study offers a therapeutic modality along with a viable measurement tool that has the potential for meeting this need. Recommendations for future research are offered. / Ph. D.

Reflections is a dance I choreographed and performed on February 25, 2022 in studio 205 Campus Center Building at East Tennessee State University. The dance explores the relationship between a dancer’s mind and body and uses mirrors and repetition to express the dancers’ perception of their flaws and insecurities. The following thesis, Reflections: Battling Body Image as a Dancer, analyzes the artistic elements of the choreographic process, my experiences as a dance student at ETSU from 2018-2022, as well as my training in my youth. My research for this thesis involves exploring the history and craft of choreography including the fundamentals of Laban Movement Analysis. In addition, my research includes a survey concerning body dysmorphia in dancers. In theory and practice, I accepted the challenge of stepping outside my comfort zone to create an emotional and physical dance composition that serves to demonstrate a dancer fighting a battle with body image.

No description available.