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SESSIONS Scale Monologues by Jennifer Mizenko, USA Paper This presentation will illustrate the application of Laban’s Space/Harmony theories to the acting process. As illustrated through the Space Scales, Dimensional, Cube and A, moving through Space takes the mover on an Effort journey and ultimately an emotional ride. This connection between Space and Effort also enlivens Body connections and principles along with Shape choices. Ultimately, the Space Scales embody the whole theory of Laban Movement Analysis (LMA). Through my work with actors over the last ten years I have found that the Space Scales are the element of LMA that truly challenge the actors and also bring the greatest change and progress. My process of teaching Laban’s Space theories is a little unorthodox. At first we work through the normal process of moving through Dimensions, Diagonals and Planes. The actors are then introduced to the Dimensional, Diagonal and A Scales, along with Central, Peripheral and Transverse Pathways and Spatial Tension. While working through the Scales I ask them to notice the Effort and Shape affinities, and also the physical challenge of accessing all of the points in Space. The next step in the process is to create stories for each Scale. This is very common in the teaching of Scales and it certainly helps the actor to understand the relationship between Space and state of mind or emotion. It is the next Step that is a little unorthodox; at this point the actors are asked to choose a monologue. They are to examine the monologue for all of the movement qualities they are familiar with, Body, Effort and Shape. Their final step is to create their own Scale that is appropriate for this character in this situation. They are allowed to switch from the Right to the Left side of the body. They can use any kind of pathway and spatial tension. And, they can move from the Octohedron, to the Cube, to the Icosohedron and back to the Cube again if they like. The significance of each line determines where they move to. The actor is then asked to perform the Scale with complete physical commitment, enlivening the Space around them. Immediately upon the completion of the Scale Monologue, the actor then performs their monologue with realistic movement while keeping the Scale alive in their bodies. The results are dramatic, and make for exciting performances. The presentation of this paper will illustrate this process and the positive effects the process has on the actor and the monologue. Jennifer Mizenko is an Associate Professor of Dance at the University of Mississippi. She has a B.A. in Psychology from Kenyon College, and an M.A. in dance from The Ohio State University. Her expanded studies include period dance with Wendy Hilton and Richard Powers, plus the study of T'ai Chi with Maggie Newman. Jennifer is a teaching member of Alexander Technique International. She is also a certified Laban Movement Analyst from LIMS. Mizenko has presented internationally at Laban and Alexander conferences and has been recognized by ISMETA as a Registered Movement Educator. She is currently combining her knowledge of The Alexander Technique and Laban Movement Analysis, developing an exciting new approach for the training of dancers and actors.
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