When choreographing a dance, it’s the energy that underlines all movement and how it is perceived in space. Identified as one of the three basic elements of dance alongside space and time, energy is regularly used by choreographers to refine the detail and meaning of their work. The terminology of such qualities can be hard to define, often being interchangeable with words such as dynamics and force which can be seen on the surface as similar expressions. Energy can be defined as the ability to create an action and overcome a resistance or gravity. When used in dance it can be seen as a singular factor that can be used on its own to create movement or combined with other factors to develop work. Force refers to the intensity of the energy given or released ranging from strong to gentle. In Laban movement analysis, force is also measured in weight and the effort applied to a shape or resistance. Dynamics can be described as an interaction between force and time resulting in an action in the body. Rudolf Laban believed that every movement was dynamic, existing over a length of time and was created using force. Movement qualities can be defined as merely observable attributes created by the dynamics of a movement and can be subjective to an individual. This can be seen when two dynamics are used to create strong, sharp movement that may be described as having a ‘whipping quality’ or when gentle, slow movement are performed to give a ‘melting quality’.
Active and Passive Energy
Before energy is utilised and released it becomes a factor held only in the body waiting to be released. The moment energy is expended into time and space to any degree or mass it becomes force, producing movement. Force can be self produced from the body or it can be created as a result of an external factor such as gravity. In this instance it then becomes reactive. It can be seen as an easy task to demonstrate force through movement which is created by the body through leaps, turns, runs and falls responding and rebounding into the floor using passive energy however the body can also demonstrate force when resting. A dancer standing still on stage is resisting the force of gravity. If a dancer were to rebound off the resting dancer, a greater resistance to the external force produced by the moving dancer would need to be applied to prevent the resting dancer from reacting to their force. This is called active energy.
Strong and Gentle Force
When applied to movement, force can be seen as active, no matter how strong or gentle. The amount of force used during the performance of a movement affects its quality and substance and therefore in its representation and significance in a dance. The dramatic implications of force are apparent even when the movement implies something else. An example of this is when a gesture is performed strong. The movement could be abstract and appropriate to the technique of the work but the force of the movement could suggest power, strength and aggression. Gentle force, often depicts passive, joy and submission and is often placed in between stronger movements in order to create contrast and highlight the stronger phrases. When creating choreography using force as a starting point it is crucial that both spectrums of force are explored. The use of energy to create interesting interactions between dancers, space and time can enhance a dance and give an element of the unexpected when reacting to an external force. It can therefore be suggested that when choreographing dance, energy must be considered as an equal factor to the external principles of time and space.
Sources
- Blom, Lynne, Anne (1982) The Intimate Act of Choreography, University of Pittsburgh Press: USA
- Adshead-Lansdale, Janet (1994) Dance Analysis, Theory and Practice, Dance Books: London
- Preston-Dunlop, Valerie (1998) Looking at Dances: Choreological Perspective on Choreography, Verve Publishing, Penzance
Amy Watson - Amy-Louise is Artistic Director of the dance theatre company 90 Degree Rotations and has a PGCE in Dance Teaching.
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