ABSTRACT
In the book The Mastery of Movement, Rudolf Laban did not differentiate much between character development for theater and rich, clear dance performance. Laban went out of his way to explore the notion of polar extremes and the need for integration of oppositional concepts. He went on in the notes to speculate on the benefits of Effort analysis to scientists interested in dance and wondered what might be possible, citing the desire for all people to dance, especially with each other, along with the need for people to use the art of movement in industry. The microanalysis of movement that Laban's notation reveals allows for specificity as well as potency. The theater, to Laban, is a place for audience response, but all changes and is changed. Laban provided a description that included the groupings of performers and movement qualities juxtaposed against the actions going on in the scene.
