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    • Juliet Chambers-Coe
      GL - Certified Movement Analyst; Teaching Fellow Movement & Choreography @University of Surrey; Fellow Higher Education Academy
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    • Laban Archives and Special Collections
      There are a number of organisations and individuals across the UK, Europe and beyond who hold archive materials produced by Rudolf Laban, his colleagues or pupils or which are in some way linked to Laban’s work. Some key organisation for these collections include National Resource Centre for Dance (University of Surrey), Trinity Laban, Leeds University, Tanzarchiv Leipzig and the Kunsthaus in Zurich. However, there are many more treasures held in other institutions or within personal collections. This group would like to encourage not only those who hold collections to contribute but also any individual interested in exploring and discussing Laban's work through reference to archive sources.
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    • LMA and Improvisation
      The purpose of this group is dialogue and sharing about how LMA is being or has been applied to the exploration of improvised movement within any context.
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    • Making Faces Theatre: Larval Masks Workshops
      1-Day Research Workshop Evolution of Movement & Larval Mask Monday 29th January 2018 10am – 4pm This multi-discipliniary research project explores the evolution of movement from fish to man through the tool of white larval mask. White larval masks are the beginning of mask, exploring simple shapes and their influence on movement patterns, character forms and emotions. In this workshop you will have the opportunity to work with fresh larval masks specially created to replicate the facial morphology of species along our evolutionary pathway. Mask-maker and Movement Teacher Vicky Wright has collaborated with palaeontologists from Bristol University to develop a set of scientifically accurate larval masks. This workshop will be the first step in discovering the movement patterns to arise. As a student and workshop participant you will gain: - experience working as a performer at the frontier of movement research - cover in-depth animal movement patterns (connected to breath, anatomy & function movement patterns) - insight into the dynamics of mask play & mask state - awareness of connections to the approach of Jacques Lecoq - understanding to some of the key fundamentals of mask-making
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    • Mental health & the Performer
      This group is dedicated to the concerns related to the mental, emotional and psychological well-being of the performer and how training and professional practitioners deal with these issues in artistic, creative and pedagogic work for performance. ALL WELCOME
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    • Midwest US Movement Practitioners
      This is a group for discussions and postings of events, workshops, jobs, etc. for practitioners in the Midwest. We should be more supportive and collaborative rather than competitive if we wish Movement Direction and Movement Study to grow in popularity and practice in the Midwestern US.
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    • Movement Pattern Analysis
      This group explores the original work of Rudolf Laban, F.C. Lawrence, and Warren Lamb applying dance and movement analysis theories to the study of behavior in the workplace. Topics to be discussed include leadership, teamwork, and personal development in the context of decision making.
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    • Natalia Fedorova
      The method I teach has now acquired the quite simple name of “Russian Movement”, mainly in the USA, but it is a discipline that draws upon not only the rich tradition of Russian psychophysical actor-training, but is also deeply influenced by acrobatics, martial arts, and yoga. The creator of this method is Andrei Droznin, one of the most famous movement coaches in Russia, the founding members of the Tabakov Studio in Moscow and the Stanislavsky Summer School in Cambridge, Massachusetts. His unique system of training combines Meyerhold's biomechanics, Stanislavsky's System, and the achievements of other great Russian directors such as Vakhtangov and Tairov. His widely recognized technique has become an essential part of theatre training programs throughout the world. The basic principles underlying my teaching are the provocation of an actor's inner impulses for self-development and the discovery of hidden abilities and spatial awareness. Special emphasis is placed on work in pairs where actors learn to hear their partner's body impulses, give immediate physical responses and elaborate a common rhythm of movement. These goals are achieved by means of various stretching exercises, individual acrobatics and acrobatics in pairs. The most important component of this method involves training the body's reactions, efficient operating of the body's center of gravity, and developing speed in impulse and movement. The physical training helps an actor develop a security with their body leading to a greater range of physical movement choice. “Russian Movement” also provokes the actor’s creativity by encouraging him to immediately use every bit of information received in devising movement phrases, combination of phrases and short pieces.
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    • Physical Actor Training: an online A-Z
      If we want to research and analyse physical acting, how do we document the process of training using movement, space, rhythm and voice? ‘Physical Actor Training – an online A-Z’ is a two-year Leverhulme-funded project. The research team (Paul Allain, Stacie Lee Bennett, Frank Camilleri, Peter Hulton) will develop for Methuen Drama Bloomsbury an A-Z of terms comprising a series of over 50 films as a means to best capture the experience of foundational training, including both trainer and trainees’ perspectives. The resource aims to show the complexity of the training process from a richer perspective than just another ‘How to Act’ guide using a range of digital tools. For more information please visit www.thedigitalperformer.co.uk To view the films click on ‘An introduction to physical actor training an online A-Z’ and scroll to the start survey button.
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    • Rachelle Palnick Tsachor
      Rachelle shares her publications, links to her work and articles relating to movement, emotion regulation through movement. You can also listen to Rachelle's podcast here. Connect with Rachelle here or via her member's profile..
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    • Reckless Ensemble Theatre
      Reckless Ensemble Theatre is based in Chicago, IL. We use the physical theater expertise and experience of all our members to create a unique approach to text. Mission: Reckless Ensemble Theatre examines the human experience through physically dynamic storytelling. Promoting new plays and reimagining classic works, Reckless Ensemble Theatre intensifies the theater going experience using the human body as an expressive force. Reckless Ensemble Theatre is dedicated to offering equal and diverse creative opportunities as well as classes for adults and children.
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    • Thinking Movement, Moving Thought
      This Group aims to make enquiry into the nature of the relationships between Movement, Philosophy and Psychology. Using Laban's framework for understanding these relationships in the first instance, but also an investigation using other epistemologies in other fields in order to further our knowledge for research and practice purposes. All welcome.
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    • Using Chekhov technique in movement work
      Do you use Chekhov technique in your movement work? Recognising shared principles and synergies between movement work in the tradition of Laban and in Michael Chekhov's technique, I am interested to hear from movement people who use Chekhov technique in their work, perhaps blending it with other approaches. This includes the areas of movement direction, teaching movement for actors, dance, choreography and dramaturgy. I am part of the research project 'Michael Chekhov technique in the 21st Century: New Pathways'. I would be delighted if you got in touch to let me know what you are doing/thinking/exploring, to give me more of a sense of how and whether the technique is being used.
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    • 1 year, 8 months ago

      Roanna Mitchell

© 2016 Labanarium. Created by Juliet Chambers-Coe, Euan Henderson and The University Of Surrey, The Coast Collective and BlackLab Digital
Supported by the Institute of Performance @ Guildford School of Acting at The University of Surrey