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Body Movement:
Coping with the Environment
by Irmgard Bartenieff
with Dori Lewis
GORDON AND BREACH SCIENCE PUBLISHERS
New York
Paris
London
Copyright © 1980 Irmgard Bartenieff and Dori Lewis
All rights reserved
Gordon and Breach, Science Publishers, Inc.
One Park Avenue New York, New York 10016
Gordon and Breach Science Publishers Limited 42 William IV Street London WC2N 4DE
Gordon & Breach 7-9 rue Emile Dubois 75014 Paris
First published 1980
Library of Congress catalog card number 80-7454. ISBN 0 677 05500 5.
All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval system, without permission in writing from the publishers.
Designed by Blaketon-Hall Limited
Typeset by Leaper & Gard Limited, Bristol
Printed in the United States of America
To my sons,
IgorJohn Barrett and George BarteniefF and to my mentor,
Rudolf Laban
* This book is a triadic collaboration between the genius and inspiration of Rudolf Laban, my total professional experience, and the imagination, insight, and artistry of Dori Lewis, writer, actress, dancer, musician, and analyst who, with vitality and humor, shared her talents to make it happen. The commitment to do the book gave me a new lease on life which I cheerfully renew in this, my eightieth year, to celebrate publication with the hope that new perceptions ofourselves and our world will enhance all our lives.
The principal objective of this book is to suggest additional modes of perceiving oneself, other people, and relationships to the world around one, using the live body totally body-mind-feeling — as a key to coping with the environment. In the process ofextending the quality and range ofone’s body movement options, the experience can extend the quality of functional and emotional life as well. The possibility ofmoving in new ways with less risk strengthens courage to tolerate continuous movement and change with stability and delight. One can learn to recognize where one is caught in private chauvinisms or valuejudgments that diminish the values ofother uniquely dynamic behavior and art.
What is critical to comprehension of these perceptions is that they be understood as a whole without fragmentation. Change in any aspect changes the whole configuration. Obviously, the experience of self as a whole transcends the consciousness of specific parts, but understanding the parts helps one to recreate the whole, to enliven its mobility, and to play harmoniously with a continuously changing environment.
June 28,
I.B.
Contents
Preface
Introduction
Chapter 1.
Chapter 3. Carving Shapes in
Chapter 4. Inner Impulses to Move
Chapter 5. Rhythm and Phrasing
Chapter 6. Affinities ofBody, Space and Effort
Chapter 7. Tensions and Countertensions
Chapter 8. Group Interaction
Chapter 9. Dance
Chapter 10. Ethnic
Chapter 1
Epilogue
Appendix A. Documentation of
Appendix B. BartenieffFundamentals
Each chapter is prefaced by photographs with suggested movement observations and each chapter is followed by verbal observation examples. All the examples and photographs are selected to tune the observer into another framework for seeing and experiencing movement as music of the body played on different instruments by different performers in various combinations.
The Appendix includes an introduction to Bartenieff Fundamentals with twelve illustrated exercises and with anatomical drawings of important bone and muscle landmark areas. The Appendix also includes a brief sampling of Labanotation and discussion of methodology. Bibliography and Index follow.
Obviously, in so complex a field, no one book can be totally satisfactory either to its authors or its readers. There has been no intention here to be all-inclusive, but it is hoped that the scope of the material in the observation of both ordinary and extraordinary movement events has been communicated.
It is strongly suggested that the reader try to observe and experience actively, not just intellectually, the movement components and their variations as they are presented. The reading needs to be accompanied by doing. Otherwise, the totality ofmovement process will be reduced to fragmented, static rhetoric. T he vocabulary of Labananalysis only suggests the extensive functional and expressive possibilities that active body, space, Effort participation will fulfill. T hat participation can provide confirmation of the reader’s own observations.
Activate and Motivate
In rhythmic waves regularly spreading, the ether trembles, the small, most minute particles of matter tremble. If there were no movement at all, all things would be lying dead in absolute rigidity and complete apathy. No ray of light, no sound would bring messages from one thing to another.
Movement not only speaks through an object; a living organism owes its final form to it; movement leads to growth and structure
That movement speaks that is about to break out of its form: The weighty power of a rock with its visible potential for impact speaks of the tremendous impetus with which it might plunge into the valley as an avalanche. The grace of a plant speaks of the readiness to move which drives a flower out of its stem from which fruit and new seed will sprout
Animal movement speaks ofthe fine adaptations with which a particular species has immersed itself into its surroundings to fit increasingly finer, more differentially into the workings ofnature.
RudolJ Laban
