Chapter 2 -- Feeling the Essential Elements of Movement

Chapter 2 -- Feeling the Essential Elements of Movement

In this chapter Haithcock outlines some movement exercises and some important concepts for movement analysis in addition to Establishing a movement framework.

The four categories of movement analysis are as follows:

Body -- the way in which body parts move, are connect, and "influence others" in order to achieve "maximum expressive capacity." (14)

Space -- Notes the actual range of motion available in each movement in relationship to the environment.

Shape -- This allows for contour and communicating gesture. Haithcock lists the difference in fluid (communicative) and fixed (lack of communicating) "shape qualities" which will allow encourage movement in the body and intentions.

Effort -- Is the regard to which one holds weight, "strength, control and timing" (14) in movement and gestures.

These are the components of the "Movement Framework"

Quality versus Quantity of motion -- here Haitcock uses the mental image of creating a painting with detail and craft, versus a paint-roller. He uses this image to define how important it is to understand the subtlety of movement in crafting and demonstrating gestures.

Be available to move -- this paragraph outlines how tension comes into play with motion, the less tension, the more you will be able to express energetically your thoughts in movement in tandem with making less mistakes.

Action Point -- The action point is "borrowed from mime" (16) and the actual point that "sparks action as the result of effort".  This action point should be "generated from intention".

Efficient movement is initiated at the point closest to the action -- this concept is tied along with the action point, and is where movement begins causing the ripple effect throughout the body in regards to the shape and effort communicated.

Contour yields contrast, which allows the communicated goal to be perceived. -- In the final concept the contour of dynamics is discussed as it relates to specificity in size and contrast of gestures in order to be effective. I.e. speaking too loud or too soft without having detail within the communication. Otherwise, expressing generality with lack of contour. 

After all of this explanation, Haithcock goes step by step through a few movement exercises to further illuminate these examples.