This comprehensive book will serve as a step-by-step guide to Laban/Bartenieff Movement Analysis; updating and expanding concepts and practices.Following extensive research on the method developed by Rudolf von Laban and his disciples; this book explains movement principles; exercises; and motif symbols in detail. Organized according to the four categories of Laban/Bartenieff Movement Analysis (Body-Effort-Shape-Space); additional chapters present the different developments of the theory in relation to performing arts and movement therapy. The author draws on Laban/Bartenieff Movement Analysis as a dynamic and connective approach; traveling from classroom and studio to everyday life; stage performance; and film acting. The Laban perspective serves as a multimedia artistic viewpoint; intertwining theory; learning; and imagery.This unique approach to this internationally used method is essential reading for educators and students of dance and other performing arts and movement-related professions.
#252285 in eBooks 2014-08-12 2014-08-12File Name: B00OVCAOA4
Review
59 of 59 people found the following review helpful. I likeyBy MyriadIm a decent artist who cant seem to get to that next level.Been searching for books that would inspire and push me. This has done it. In a meagre 64 pages I have been given all the tools to push my portrait drawing ability to that next level. There are exercises along with some positive words that have given me a goal to pursue. I own over 100 books on various aspects of art instruction and this is among the best. I bought a couple other of the made easy series and they seem to be just as good. This has undoubtedly been a very good investment. Highly recommended.12 of 13 people found the following review helpful. A good "handbook" on drawingBy J. FELLAI wanted to review this book because I hope I have something to contribute; opinion-wise. As some of the reviewers have said; this book is quite short (it IS a Walter Foster book after all). It doesnt go into anything in a lot of detail or depth. However; there is very little talking in this book; and it has a ton of examples and tends to explain with its pictures. It does have a few cool aspects to it; particularly where it shows you some finished drawings (by skilled amateurs I assume) that are quite good; but have some problems with them (tone; contrast; etc). So it shows you what the problem is and then how to go about fixing it. Pretty cool; actually.So; yes this book is short and sweet; but honestly if you just want a good; down and dirty reference to refresh your memory about certain aspects of drawing; and maybe just want some examples of different kinds of shading; facial features; etc. this book might hit the spot. Keep in mind; Im giving this book 4 stars for what it is; not what it isnt. It DOES pack a lot of info into 64 pages; and for that; I think it deserves 4 stars.10 of 11 people found the following review helpful. cream of the cropBy AudioampbuilderSince it has been years since I worked with portraiture; I knewI needed some good books to provide the essential exercisesrequired in order to wind up with something approachingphotographic - with believable and pleasing results. So I bought several and compared them. Actually they will all be useful. This one; however;is very well done. He even presents some works from some of his students who; we can gingerly say; are not quite there yet; and describes what it is exactly that doesnt work-or can make your subject/model look just a "bit off" of looking; well; not quite human... with Richlin describing exactly why it doesnt work.There arent so many lines; or "contours" re. the human head and face.It is more about a gradual blend of light and shade-with a keen understanding of the relative sizes; and positions of key elements and facial features as they overlie bone and cartilage structure underneath. It is important to cause a portrait to look alive; moist; breathing;natural; etc. before we move on to; say; our "signature" portrait style; which may be done more "shorthand like"; e.g Modigliani;( the flat/graphic look ) or painterly; e.g. Sargeant; or Van Gogh ( extremely painterly strokes )The reading is entertaining; winsome and witty-which helps one get through the fussing with details that we must concentrate upon in order to keep our portraits from looking just plain duh looking -or worse; laughable ; or encourage wise cracks from people who cant even draw flies.If youre getting close; but cant quite understand what is wrong; this is a superb training exercise that will help you move from unschooled untrained novice to professional...its a bigger step than one might think. Unschooled draftsmen will often behave as if to say "Look; I can do this without training" ( duh ). The lack of proper exercise and training happens to be noticeable from fifty feet away - sticking out like the proverbial sore thumb. Try to get it right first before we move on to visual shorthand - the kind we see in; say a relaxed stroke Fragonard; or Eduard Manet...both of whom were capable of photo-realism before they developed their signature brushstrokes...lightning like; accurate strokes. It is first accomplished with great pains; self discipline; and working constantly to improve. After all; a concert pianist will have played his performance piece a hundred times or more before he or she steps on to a live stage.To quote from the author; "Remember that portraiture requires the most painstaking accuracy of ALL the visual arts". Accomplish this; and everything else will come effortlessly.This is a good first one- but do buy more - such as Anthony Ryders "The Artists Complete Guide to Figure Drawing". Anyone who takes himself seriously as an artist will perfect his drawing skills; ala; J.D. Ingres; before moving on to painting. Only the amateur wants to jump into painting right away. This is the problem today when one goes to a; so called; high end gallery; hoping to see excellence...you will not. Today we champion the haughty; mincing; self congratulatory; delusional; lazy; ignorant; undisciplined; and the profoundly disturbed sociopath as "dah-lings".What is needed are more books of nude models in a great variety of ages; and body types; since it is so hard to get someone to pose naked for you. The human body drawn au natural; and then clothed; makes the for most natural looking work. Indeed; in the academy century; the clothing; or drapery was often set up with props or a mannekin; all the folds etc done exquisitely;...and THEN the model is brought in to flesh out those garments. Ideally with some cooperation from the model; for an accurate drawing previously; done au natural; or with scant clothing.
