Aug 10, 2011
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Choreutics
Choreutics Deflection Theory (revised from Longstaff, 1996, IVA.40)
A theory can be identified in choreutics which posits that:
Dimensional and diagonal orientations serve as conceptual prototypes of pure directional stability and pure directional mobility respectively, while actual body movements occur as “deflections” between the idealised pure dimensions and pure diagonals, that is, mixtures of stability and mobility.
The spatial aspects of bodily movements and positions are mentally conceived in terms of easily imagined dimensional and diagonal prototypical directions whereas actual body movements occur as deflections of the dimensions and diagonals, referred to as “inclinations” . General Statements The deflection theory in choreutics has not been concisely stated but is alluded to in various places where dimensions and diagonals are considered to be mental prototypes while deflected “inclinations” occur in actual body movement
“Because the body limits the fulfilment of perfect three-dimensional shapes that pure diagonals would offer, most three-dimensional shapes are created through modified diagonals . . . These are available to the body.” (Bartenieff and Lewis, 1980, p. 33) “The principles of choreutics can easily be developed by taking the cube as the basis of our spatial orientation. The conception of the cube as a basis is not a compromise but a fundamental principle [ie. conceptual prototype] of our orientation in space. In practice, harmonious movement of living beings is of a fluid and curving nature which can be more clearly symbolised by a scaffolding [ie. kinespheric network] closer to a spheric shape [ie. the icosahedron].” (Laban, 1966, p. 101) “The [spatial] order within a cube - when looked upon purely as a space form without relationship to the body or its uses - is easily comprehended because of the right angles and equal edges. [However] If we relate our moving body to this [cubic] order we shall at first meet with some difficulties.” (Ullmann, 1966, p. 139)
The “difficulties” arise since actual body movements do not conform to the shape of a cube. Bartenieff and Lewis (1980, pp. 89-91) report that pure dimensional oriented movements, pure diagonal oriented movements, or movements purely within one of the Cartesian planes “rarely appear in pure form” but that they sometimes may be observed in small isolated gestures. Instead of dimensions or diagonals it is observed that actual body movements occur along inclinations: “Such inclinations of the pathways of our gestures which have combined directional values [ie. primary, secondary, tertiary spatial components] are very frequent. In fact they are the rule rather than the exception.” (Ullmann, 1971, p. 17) “One of the essential discoveries which arose from the study of movement is that of the crystalline structure of man’s movement possibilities. I found this out very early . . . that people, in spite of their differences of race and civilisation, had something in common in their movement patterns. This was most obvious in the expressions of emotional excitement. I observed that in these patterns certain points in space around the body were specially stressed. In joining these points, I arrived at a regular crystal form . . . an icosahedron . . . . . . Man is inclined to follow the connecting lines of the twelve corner points of an icosahedron with his movements in travelling as it were along an invisible network of paths.” (Laban, 1951, pp. 10–11)
Research:
Illustrating the ideas brought to the fore in Laban's Choreutics with Forysthe almost animating the illustration published in Choreutics.
Research:
“All alphabets and signs are built up from fundamental formal elements. For instance, the first three Arabic ciphers 1, 2 & 3, or characters occupying Greek writing, such as the aspiration mark, ‘ or the letters β, α show the standard forms of bodily movement…This influences all writing and drawing activity of our hands and seems to restrict it to the use of the aforementioned four formal elements (see above illustration) as a basis for shaping which innumerable combinations can be made.”
Taken from: Laban, R., Ullman, L. (1966) Choreutics, MacDonald and Evans Ltd, London (p.84)
The following examples from Trisha Brown and William Forsythe illustrate these principles clearly.