I. Introduction to Laban Action Analysis

1, Laban Action Analysis

It is a method to conceptualize, describe and evaluate the way of human body movement. Although dancers, choreographers and dance theorists use LMA most often, actors and performance coaches also use it to help actors understand the choice of expression and reflect their roles. LMA has been used for actor training for more than half a century.

2.LMA was taken from Rudolf Laban.

Laban is a choreographer and dance theorist from Austria-Hungary and a pioneer of modern dance as we know it today. He is one of the founders of expressionist dance, which is a form of conveying emotions through action art.

Second, the basis of Laban's action analysis theory

1, text

It is the perception of ontology or some parts of ontology, answering which parts of the body are moving, where is the starting point of action, and what is the relationship between different limb parts.

2. Force effect

Essentially, it is the way your body moves around the world. Laban divides human daily actions into eight categories, which are divided into space, time, weight and movement factors.

Third, the importance of class theory to performers.

1, observe

LMA provides a framework for performers to continue their performance education through simple observation behavior. Jean Newlove, the author of Laban for Actors and Dancers, said that observing the way others walk-thinking about the placement of weight and how to start a body narrative through exercise-is a useful start.

Step 2 act

Learning action theory is a necessary part of any actor's training. "Just as sound must be able to convey characters or emotions, body movements must also be able to convey, from a big gesture to the slightest flick of a finger.

3. Body language

Many actors struggle with the body language of their characters. But just like every character has his own way of speaking (word choice, dialect, rhythm, emotion behind words), they also have their own way of moving.

4. Role building

Actors can use the LMA framework to observe other actors and performances, apply methods to scripts, or try to classify roles according to their most common efforts.

Laban's daily activities

1, click

Direct, fast, light and restrained.

2. Floating

Indirect, continuous, brisk and free.

3. Urgent

Direct, continuous, heavy and bound.

turn around

Indirect, lasting, heavy, binding.

Step 5: Slide

Direct, continuous, light and free.

6. Behavior space

The physical space around your body and your reaction to it further develop two elements to describe each "force influence": space-direct or indirect; Time-either fast or continuous; Weight-heavy or light; Flow-bondage or freedom.

7. Spatial intention

Porters use different directions.

8. Form

(1) shape form

The fixed shape of your body.

(2) the way of shape change.

How your body interacts with the environment. Patterns include "shape flow", that is, the connection between your body and yourself; Directionality, that is, the direction of your body in the environment; There is also "carving", which is the interaction between your body and the size of the environment.

(3) shape flow support

How your core or torso changes shape to support the rest of your body.