First Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.

The description and notation of various different types of objects, such as sticks, fans, swords, ribbons, and candles, and the ways in which they can be held or manipulated with the hands or other parts of the body.

Nijinsky's score of his L'Apres-midi d'un faune lay unused for nearly forty years after his death, because nobody could read it. In 1987 Dr Ann Hutchinson Guest and Dr Claudia Jeschke "broke the code" of his notation system and thus made the choreography he had notated available for revival. Subsequent performances of the restored Faune have been acclaimed for their beauty and subtlety. This book presents Nijinsky's ballet as he himself recorded it in 1915, making this authentic version, translated into Labanotation, immediately available to dance students, teachers, scholars and researchers....

This is the first source text on this issue of Labanotation since it was introduced into the system in 1979. It shows the application of design drawing and the use of shape in pantomime gestures, in the handling of props and in choreography such as 'The Green Table' by Kurt Jooss.

A comprehensive manual for writing movement in Labanotation when the body is not supported on the feet. Not only does it analyse in great detail how one can get up from lying, lie down from standing, roll from sitting on to the knees, etc., and how these movements are notated, but it also offers a complete survey of the Labanotation rules about distance, timing, systems of reference, weight distribution, and floor contact that apply to Labanotation as a whole and underlie any writing of 'floorwork'.

How to write a successive movement in Labanotation, a movement that flows from one part of the body to another in succession, passing from joint to joint or vertebra to vertebra. It analyzes different forms of sequential movements, including the body wave often used in early modern dance. The book also shows how the notation has been applied in recording exercises and compositions by Shawn, St. Denis, and Humphrey.

Specific details on notating a range of aspects of movement in Labanotation. These include finer intermediate directions, greater variations in writing paths of gestures and paths across the floor, defined intermediate distances, specific minor movements, motion versus destination, orientation according to various systems of reference, and defined areas and locations on stage.

The possibilities of exploring in Labanotation movements in which placement of body weight is of particular importance: balancing, shifting weight, leaning, and falling. Many examples from modern dance technique are included.

This issue completes the theory relating to movements on the floor, supporting on various body parts and transitions between such supports. It also gives a full account of revolutions of the body and their recording in Labanotation and offers many reading examples from choreography that features particular floorwork actions.

The notation of hand movements ranging from broad general statements for the whole hand to detailed descriptions that necessitate defining use of a particular surface or edge of a specific joint or segment.