英语词汇labanotation的起源、历史背景-英语词源词典

labanotation. This little-known word describes an important notation system that amounts to a graphic shorthand for dance, enabling a choreographer to delineate every possible move- ment of the human body individually or in ensemble. Intro- duced by its creator Rudolph Laban in his book Kinetographie Laban (1928), labanotation was the first practical method capa- ble of scoring the various complex movements and positions of an entire ballet or musical comedy. Unlike the old numbered- footprint plans familiar to us all, the Laban system amounts to a complete break with tradition. It dispenses entirely with the musical five-line horizontal staff, using a three-line vertical staff that is divided in the center. Code symbols on each side of the line indicate foot and leg movements, while symbols in par- allel columns outside the lines pertain to all other body ges- tures. Every slight movement from toe to head can be noted, as well as their direction, timing, and force, and by grouping to- gether the staffs for individual dancers an entire work can be “orchestrated.” Laban did for the dance what Guido d’Arezzo did for musical notation almost a thousand years before him. Prior to his system dancers had to rely on their memories of performers who had appeared in classical ballets, but now al- most exact revivals can be given and ballet composers can fi- nally adequately copyright their creations. Born in Pressburg (Bratislava) on December 15, 1879, the German dance teacher and choreographer died in London on July 1, 1958.

词汇	labanotation
词源	labanotation. This little-known word describes an important notation system that amounts to a graphic shorthand for dance, enabling a choreographer to delineate every possible move- ment of the human body individually or in ensemble. Intro- duced by its creator Rudolph Laban in his book Kinetographie Laban (1928), labanotation was the first practical method capa- ble of scoring the various complex movements and positions of an entire ballet or musical comedy. Unlike the old numbered- footprint plans familiar to us all, the Laban system amounts to a complete break with tradition. It dispenses entirely with the musical five-line horizontal staff, using a three-line vertical staff that is divided in the center. Code symbols on each side of the line indicate foot and leg movements, while symbols in par- allel columns outside the lines pertain to all other body ges- tures. Every slight movement from toe to head can be noted, as well as their direction, timing, and force, and by grouping to- gether the staffs for individual dancers an entire work can be “orchestrated.” Laban did for the dance what Guido d’Arezzo did for musical notation almost a thousand years before him. Prior to his system dancers had to rely on their memories of performers who had appeared in classical ballets, but now al- most exact revivals can be given and ballet composers can fi- nally adequately copyright their creations. Born in Pressburg (Bratislava) on December 15, 1879, the German dance teacher and choreographer died in London on July 1, 1958.
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