Measure for Measure: The Eight Laban Efforts

The next piece of character development we worked on as a cast were the Laban Efforts. These are based on a series of movement characteristics created by Rudolf Laban, they are split into 4 sections, each with opposing extremes:

• Fluidity: Staccato or Legato
• Speed: Fast or Slow
• Drive: Direct or Indirect
• Weight: Light or Heavy

From these four characteristics, it is possible to chop and change a number of them into eight three-dimensional "efforts", extreme versions of characters that reflect their movement objectives. These are:

1. Dab: Fast, Direct, Light
2. Flick: Fast, Indirect, Light
3. Punch: Fast, Direct, Heavy
4. Slash: Fast, Indirect, Heavy
5. Glide: Slow, Direct, Light
6. Float: Slow, Indirect, Light
7. Press: Slow, Direct, Heavy
8. Wring: Slow, Indirect, Heavy

To figure these out for ourselves, we got into neutral and explored first the four sections on their own, then each of the efforts one by one. They are useful for character development as it is possible to provoke an emotional response from a physical stimulus, therefore Laban is a brilliant way to explore physicality based on estimations about how a character feels. This is particularly useful for Shakespeare as a strong physical presence is vital so that the nuances of the words are not lost on an audience disengaged by a lack of physicality on stage. On top of this, our show is based in a physical environment; the Acid house dance music movement of 1989.

For the Duke, I found that the Effort that fitted best was Glide, as it best encompassed the Duke's caring yet regal presence. I played with float, but found that the Duke had too much of a purpose in the show to not be direct in his actions, as this would connote a regal character that does not seem to care about his duties, making him unlikeable.