By Alan Bennett
A set of 4 Alan Bennett performs, with an creation by way of the writer which describes the historical past to their writing and function.
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Extra resources for Alan Bennett Plays 1: Forty Years On, Getting On, Habeas Corpus and Enjoy
Lawrence was a management consultant when Leonard Elmhurst introduced him to Laban. During and after World War II, Lawrence and Laban blended traditional time–motion study approaches to worker efficiency with Laban’s analysis of effort and space. Observing young women throw around huge tires and pieces of equipment for the war effort gave them opportunities to note the role of personal style in efficiency. Body type and predilections for particular permutations of expression and pathways played a role in the productivity and job satisfaction of the women hired to take over from the men Rudolf Laban 26 deployed to the war.
The Bacchanal with the knight in the middle storms towards the burial place of the murder victim and behind the palely illuminated crosses rise the shadows of Comthur and his daughter. Here they are met by the loud challenge of Don Juan, here for the first time Comthur grasps the mortal hand, which, however, pulls away from the demonic grip. Only now does the choir change. It becomes a host of hellish messengers, who surround the outlawed one like red waves and drive him from one corner of the proscenium to the other.
In the case of the arabesque, for example, rather than the dancer thinking in terms of achieving a particular placement of the leg behind and above the torso, he suggested the dancer feel the lengthening in two directions of the torso and the leg, in a countertension. He saw movement occurring in phrases or sentences, groupings of unfolding moments that yield rich information about the body moving expressively in space. Laban cautioned actors that much of what is conveyed as character and story is conveyed through movement.
Alan Bennett Plays 1: Forty Years On, Getting On, Habeas Corpus and Enjoy by Alan Bennett