ABSTRACT
At the beginning of the 1920s, the training programs Laban had devised for students all over Europe, including the emerging notation system, the freie tanz, the movement choirs, and the rest of the curriculum did not yet contain a study of choreosophy (the aesthetics of movement), choreography (which he thought of as the notation of movement) or choreology (the analysis of movement for the purpose of making dances). The rise of the tanztheater throughout the 1920s clarified the need for more organized and specific training, however. The schools and the curriculum within them had to address a more systematic approach to training as well as a more divergent approach to the creative process.
