is recognized by many millions of people as a significant factor
in their lives and their well-being.
Movement can be a tool for positive growth and change, as well
as a tool in art and personal therapy. It can enable us to allow
our inner, creative and expressive voice to speak. We all have
a creative, expressive voice. The ability to express and create
is not the sole prerogative of ‘the artist’. It
is everyone’s birthright.
The universal interest in dance stems from the fact that dance
is the most immediate and totally involving of the arts. Dance
is of the body and the body is used to bridge the internal and
external worlds. Before words and language, man experienced
despair, joy, fear, wonderment, isolation and all the other
emotions. Infants may not be able to name what they feel, but
they do feel it and they express it through their movements.
body has its own language - a language that we all speak well.
Essentially, the language of the body and the language of dance
are one and the same.
Laban’s approach to movement enables us refine this language,
to increase our movement vocabulary to express states of being
in a more explicit and artistic way. He provided maps for us
to follow, while giving us the confidence and ability to colour
the map according to our own needs and personality. His work
stems from an attempt - the most comprehensive to date - to
grapple with and elucidate the language of movement.
philosophy was based on the belief that the human body and mind
are one and inseparably fused. The legacy Laban left us is immeasurable
and far reaching: in dance, in theatre, in physical education,
in industry, in agriculture and in therapy. Many people are
influenced by his work without even realising the fact. Perhaps
his greatest achievement was to prove that that we can all find
pleasure in our ability to move.
Sessions when Training as an Actor/Performer and in Therapy
students/workshop participants have the opportunity to explore
how to be creative through movement and how it serves as a means
of personal expression and communication.
experience moving without thinking, getting in touch with their
body knowing which guides them into favourite, comforting rhythms.
Sometimes the challenge is inspired by words of Gabrielle Roth,
a dance shaman where students/workshop participants are encouraged
to find their feet, give themselves up to the beat of the music
and move like they have never moved before.
the end of the course the students/workshop participants should
not only have an technical understanding of Laban’s Theory
of movement, but would also have been through a very personal,
emotional and spiritual learning experience.
at drama schools will then learn how to apply their newfound
Laban Theory, directly to text and when working on character.