Author |
Article |
Year |
Vol |
Pages |
Anon. |
A Focus on IBISS from the Diary. Healing. Learning. Creativity. |
1996 |
15.1 |
p.3 |
Anon. |
Introducing Motus Humanus |
2008 |
27.1 |
p.6 |
Anon. |
Motus Humanus Advanced Seminar |
2008 |
27.4 |
pp.10-11 |
Barber, L. |
Laban for Accessing Teenage Drama |
2010 |
29.3 |
pp.4-5 |
Baybutt, A. |
Practicing Movement for Voice |
2011 |
30.3 |
pp.10-11 |
Bentzen, S. |
Physiotherapy and Laban’s Movement Analysis |
2011 |
30.3 |
pp.13-14 |
Boorman, J. |
Shropshire Keep Fit Association |
|
37 |
|
Corlett, H. |
The Influence of Rudolf Laban’s Theories on the Development of Educational Gymnastics in England |
|
31 |
|
Crosthwaite, E. |
Laban Inspires Suffolk Youth Theatre |
2010 |
29.1 |
pp.8-9 |
Crosthwaite, E. |
The Country Wife, an SYT production. Working with Walli Meier |
2010 |
29.3 |
pp.6-8 |
Culver, F. |
Movement and Industry |
|
17 |
|
Culver, F. |
The Fear of Change in Industry |
|
23 |
|
Curl, G. and others |
Questions for the Experts – Laban’s Influence on Movement and Drama |
2003 |
22.3 |
Pp8,9 |
Curl, G. |
Movement in Nature and the Arts |
2004 |
32.1 |
p. 9-12 |
Curl, G. |
Questions for the Experts – Michael Platt |
2004 |
23.3 |
pp.14-15 |
|
Plus review – a Brechtian Masterpiece |
|
|
|
Curl, G. |
Questions for the Experts – Warren Lamb |
2005 |
24.1 |
pp.14-15 |
Curl, G. |
Mastery of Movement on the Stage – Suffolk Youth Theatre |
2006 |
25.1 |
pp.45-48 |
Curl, G. |
“Yerma”- Suffolk Youth Theatre |
2006 |
25.3 |
pp.12-14 |
Davies, E. |
Men and Women are so Different (Part 2) |
2002 |
21.4 |
pp.4-6 |
Deicher, C. |
An Experiment Towards a New Pedagogy in Relation to Architecture |
2012 |
31.1 |
pp.13-17 |
Dewey, M. |
The Significance of Rudolf Laban’s Studies in Human Movement |
|
26 |
|
Dorland, C. |
Theatre, Movement and Dance in Greece – Summer 2023 |
2023 |
42.5 |
pp.8-9 |
Elliott, J. |
Developing a Laban-based Community within a Health Care Setting |
2009 |
28.1 |
pp.10-11 |
Elliott, J. |
Dance Mirrors – A Dance Experience in Healthcare (1) |
2009 |
28.2 |
pp.10-12 |
Elliott, J. |
Dance Mirrors – A Dance Experience in Healthcare (1) |
2009 |
28.3 |
pp.16-18 |
Gladding, L. |
Dance as Art |
2020 |
39.2 |
pp.10-11 |
Griffiths, W. |
Is Sport Good for Us |
2002 |
21.3 |
p.6 |
Hammonds, D.M. |
Drama as an Art |
|
7 |
|
Hermelin, W. |
Dancing Stitches |
2006 |
Supp. |
p.14 |
Hermelin, W. |
Threads of Memory – Footprints of Time |
2007 |
26.1 |
pp.13-15 |
Hinley, J. |
A Correlation of Movement and Art |
|
36 |
|
Howlett, R. |
Contemporary Knowledge of Kinesiology and its Application to the Field of Dance |
|
35 |
|
Imus, S. |
Laban/Lamb Legacy |
2008 |
27.1 |
pp.7-8 |
Imus, S |
Managing Resources: Practical Applications |
2008 |
27.1 |
pp.8-9 |
|
Of MPA within an Academic Institution |
|
|
|
Johnston, S. |
Human Development – Body with Mind. |
1996 |
15.1 |
pp.4-5 |
Johnston, S. |
Action Profile system. |
1998 |
17.3 |
p.15 |
Kuppers, P. |
Dancing Quietly – Dancing Sense |
2004 |
23.1 |
p.14-15 |
Laban-Lawrence |
Selection in Practice |
|
8 |
|
Laban-Lawrence |
The Use of Laban-Lawrence Effort Assessment in Promoting Good Industrial Relations |
|
10 |
|
Lamb, W. |
Recruiting and Assessing from the Evidence of Movement Behaviour |
|
37 |
|
Lamb, W. |
Development of Action Profiling I |
1987 |
76 |
May |
Lamb, W. |
Development of Action Profiling II |
1988 |
77 |
May |
Lamb, W. |
Development of Action Profiling III |
1989 |
78 |
May |
Lamb, W. |
Development of Action Profiling IV |
1990 |
79 |
May |
Lamb, W. |
The Essence of Gender in Movement. Part 1 |
1993 |
12.1 |
pp.1-3 |
Lamb, W. |
The Essence of Gender in Movement. Part 2. |
1993 |
12.2 |
pp.3,8 |
Lamb, W. |
The Essence of Gender in Movement. Final part. |
1993 |
12.3 |
p.7 |
Lamb, W. |
Movement Pattern Analysis/Action Profiling: The Difference. Movement Pattern Analysis. |
2000 |
19.1 |
pp.4-5 |
Lamb, W. |
The Significance of Movement Analysis |
2003 |
22.1 |
pp.4-5 |
Lamb, W. |
The Significance of Movement Analysis |
2003 |
22.2 |
pp.4-5 |
Lamb, W. |
Treasure Trove! Warren Lamb donates his archive to the NRCD |
2004 |
23.4 |
pp.4-5 |
Lamb, W. |
The Actor’s Movement |
2010 |
29.1 |
pp.10-11 |
Lamb, W. |
A Brief Introduction to Movement and Gender |
2011 |
30.2 |
pp.14-15 |
Leonard, M. |
Architecture and Dance Part 1 |
|
8 |
|
Leonard, M. |
Architecture and Dance Part 2 |
|
9 |
|
Leonard, M. |
Architecture and Dance Part 3 |
|
10 |
|
Loman, S. |
Therapy with Expectant Families |
2003 |
22.4 |
p.13 |
Long, M. |
Dance and Art |
|
10 |
|
Longstaff, J |
Continuous Flux and Flow of Effort and Shape |
2008 |
27.4 |
pp.12-17 |
McBride, J. |
An Introduction to Movement Pattern Analysis |
2010 |
29.1 |
p.12 |
Meier, W. |
The Influence of Rudolf Laban’s Work on the Keep Fit Association of England and Wales |
|
36 |
|
Mitchelson, M. |
The Clown, the Mask, the Buffoon, the Chorus. |
1995 |
14.4 |
p.5 |
Mitchelson, M. |
The Balinese Mask Tradition |
2003 |
22.1 |
pp.7-8 |
Moore, C-L, |
Laban’s Concepts of Health |
2006 |
25.1 |
Pp31-32 |
Moore, C-L. |
Laban in the United States |
2008 |
27.1 |
p.4-5 |
Moore, C-L. |
Laban and Theatre Pedagogy |
2010 |
29.3 |
pp.11-12 |
Mortimer, R. |
Walking Right Into It: Using Laban’s approach to Space |
2022 |
41.2 |
pp.4-5 |
Mortimer, R. |
A quick note to self in rehearsal for The Morphea |
2023 |
42.5 |
p.17 |
O’Hanlon, L. |
The Sacredness in Movement and Dance (1) |
2007 |
26.4 |
pp.12-13 |
O’Hanlon, L. |
The Sacredness in Movement and Dance (2) |
2008 |
27.1 |
pp.19-20 |
Panet, B. |
Laban as an Essential Skill for Actors |
2009 |
28.2 |
p.9 |
Parr, J. |
The Thermal Resistance: a movement project |
2022 |
41.2 |
p.5 |
Pease, E. |
Stage Movement |
|
23 |
|
Potter, F. |
Dancing in Partnership with Business. |
2000 |
19.2 |
pp.10-11 |
Ramsden, P. |
Movement and Motivation |
1991 |
80 |
May |
Ramsden, P. |
Movement Profiling Analysis/Action Profiling: The Difference. The future of the Action Profile System. |
2000 |
19.1 |
pp.5-6 |
Redfern, B. |
Movement and Speech Part 1 |
|
26 |
|
Redfern, B. |
Movement and Speech Part 2 |
|
27 |
|
Redfern, B. |
Movement and Speech Part 3 |
|
28 |
|
Redfern, B. |
Movement and Speech Part 4 |
|
29 |
|
Redfern, B. |
Movement and Speech Part 5 |
|
31 |
|
Redfern, B. |
Movement and Speech Concluded |
|
34 |
|
Robertson, S. |
On Modelling Blindfold |
|
13 |
|
Royston, D. |
Laban and Littlewood |
2019 |
38.2 |
pp.5-7 |
Royston, D. & Blagodatskikh, O |
Olga, Laban and Shakespeare |
2021 |
40.3 |
pp.9-11 |
Saint-Smith, S. |
ICKL Conference 2007 |
2008 |
27.2 |
pp.9-21 |
Salter, A. |
Movement in Psychotherapy |
2008 |
27.3 |
Pp8-9 |
Sitwell, P. |
The Art of Movement and Ski-ing |
|
30 |
|
Sundermier, L. |
Dance Science and the Dance Teacher |
1991 |
80 |
May |
Ward, A. |
Approaching Art through Dance |
1986 |
75 |
Sep |
Ward, A. |
From Dance to Art – the value of Laban-based work in education |
2018 |
37.1 |
pp.23-24 |
Wilson, K. |
Ancient Ideas: Dionysian Orchestration in Movement with the Fairies |
2022 |
41.2 |
pp.6-7 |
Wolf, A. |
The ‘Laban Toolbox’ in the Music Classroom |
2018 |
37.1 |
pp.5-7 |