对于舞蹈专业生物力学的一点看法
从上世纪80年代初以来，本人一直从事和体育专业生物力学教学、实验有关的工作，对于体育领域运动生物力学的来源、发展和内容还是比较了解的，也曾经比较专注于运用人体解剖学和运动生物力学的方法解析人体的运动规律和分析人体动作，在讲授舞蹈专业人体解剖学的动作分析章节时，总感觉体育领域的运动生物力学解析方法似乎和舞蹈专业的需求有所区别，一时又说不清楚区别究竟在哪里，后来看到关于拉班的动作解析理论，才多少有些想法。
母亲节送什么礼物给妈妈比较好那么什么是拉班的动作解析理论？还是看一段英文原文说的更详细一些。
Laban Movement Analysis
From Wikipedia, the free encyclopedia
Laban Movement Analysis (LMA) is a system and language for understanding, observing, describing and notating all forms of movement. Devised by Rudolf Laban, LMA draws on his theories of effort and shape to describe, interpret and document human movement. Use
d as a tool by dancers, athletes, physical and occupational therapists, it is one of the most widely used systems of human movement analysis.
Extended by the work of Irmgard Bartenieff, the system is known also as Laban/Bartenieff Movement Analysis or Laban Movement Studies and comprises:
· Laban Movement Analysis
· Anatomy and Kinesiology
· Bartenieff Fundamentals(sm)
· Labanotation
Qualified practitioners are known as "Certified Movement Analysts" (CMAs) or "Certified Laban Movement Analysts" (CLMAs).
On a stylistic note, terms which have specific meaning in the system are typically capitalized. Thus there is a difference between "strong weight effort" and "Strong Weight
Effort". The former is an English phrase with a variety of connotations. The latter is LMA specific vocabulary referring to one of the two configurations of Weight Effort, a qualitative category of movement expression.
Contents
· 1 Laban Movement Analysis
o 1.1 Body
o 1.2 Effort
o 1.3 Shape
o 1.4 Space
· 2 Anatomy and kinesiology
· 3 Labanotation
·
4 Bartenieff Fundamentals(sm)
· 5 Centers
· 6 See also
· 7 External links
Laban Movement Analysis
LMA (Laban Movement Analysis) is a development of Laban's theories. It includes studies in 4 inter-related categories: Body/ Effort/Shape/Space. LMA/BF is the integrated study of Laban and Irmgard Bartenieff's embodiment of his theories.
LMA has four main categories: Body, Effort, Shape, and Space.
Body
The body category describes structural and physical characteristics of the human body w
hile moving. This category is responsible for describing which body parts are moving, which parts are connected, which parts are influenced by others, and general statements about body organization. The majority of this category's work was not developed by Laban himself, but developed by his student/collaborator Irmgard Bartenieff, the founder of the Laban/Bartenieff Institute in NYC, through the "Bartenieff Fundamentals"(sm). The Body category, as well as the other categories, continue to be further developed through the work of numerous CMAS, and applied to ever extending fields, such as: fitness, somatic therapies, rehabilitation, dance technique, and more.
Several subcategories of Body are:
国庆去哪里玩比较合适· Initiation of movement starting from specific body parts;
· Connection of different body parts to each other;
· Sequencing of movement between parts of the body; and
· Patterns of body organization and connectivity, called "Patterns of Total Body Connectivi
ty", "Developmental Movement Patterns", or "Neuromuscular Patterns".
ad提莫出装Effort
Effort, or what Laban sometimes described as dynamics, is a system for understanding the more subtle characteristics about the way a movement is done with respect to inner intention. The difference between punching someone in anger and reaching for a glass is slight in terms of body organization - both rely on extension of the arm. The attention to the strength of the movement, the control of the movement and the timing of the movement are very different. Effort has four subcategories, each of which has two opposite polarities.
· Space: Direct / Indirect
· Weight: Strong / Light
· Time: Sudden / Sustained
小学屈原的古诗词· Flow: Bound / Free
Laban effort graph
Laban named the combination of the first three categories (Space, Weight, and Time) the Effort Actions, or Action Drive. The eight combinations are descriptively named Float, Punch(Thrust), Glide, Slash, Dab, Wring, Flick, and Press. The Action Efforts have been used extensively in some acting schools to train the ability to change quickly between physical manifestations of emotion.
豪车排行Flow, on the other hand, is responsible for the continuousness or ongoingness of motions. Without any Flow Effort, movement must be contained in a single initiation and action, which is why there are specific names for the Flow-less Action configurations of Effort. In general it is very difficult to remove Flow from much movement, and so a full analysis of Effort will typically need to go beyond the Effort Actions.
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