Choreutic Concepts and Practice

Abstract

Rudolf Laban's original choreutic1 concepts are too complex, in both his practice and his writings, to be usable for the analysis of contemporary choreography in the form in which he left them. The central hypothesis of this research is that a broadening, disintegration and reassembling of his material provides a rich resource. When seen in context with the spatial practice of other dance artists, teachers and theorists, it is possible to conceive of this resource as central to the study of choreography. To date two models of choreutic content exist. One is embedded

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