This document discusses diagonals and how they relate to movement and space. It explains that according to Rudolf Laban's movement analysis, the diagonals around the body provide the clearest use of three-dimensional personal space. There are four diagonal axes connecting the eight corners of a cube that cut through the body. The document then provides exercises to explore movement along these diagonals through improvisation and choreographed dances moving between corners and across the stage.

1. DIAGONALS: FROM CORNER
TO CORNER
Andrea Audine P. Jandongan MPE 1-A

2. Corner/s
A place or angle where
two or more sides or
edges meet.

3. Cube
A symmetrical three-
dimensional shape, either
solid or hollow, contained by
six equal sides and eight
corners.

4. Diagonal
Oblique lines (lines that are
neither perpendicular nor
parallel) that are made by
connecting the opposite
corners of a cube, passing
through the center.

5. Tessellation
An arrangement of shapes closely
fitted together, especially
of polygons in a repeated pattern
without gaps or overlapping.

6. In Rudolf Laban’s analysis of movement
called Laban Analysis, the diagonals around the
body afford the clearest three-dimensional use of
the personal space around the body. Each diagonal
makes an axis that cuts through the center of the
body. There are four possible axes connecting the
eight corners of the cube and crossing each other.

7.  Right high back to left low
front
 Left high back to right low
front
 Right low back to left high
front
 Left low back to right high
front

8.  Right high back
 Right low back
 Left high back
 Left low back
 Right high front
 Right low front
 Left high front
 Left low front

9. Audience
Backstage
Upstage
Downstage
Center stage LeftRight

10. Audience
Backstage
Upstage
Downstage
Center stage
Upstage right
Downstage left
Upstage left
Downstage right

16. Improvisation 1: Stage Diagonals
• Stand in one corner and face the opposite one.
• Move across the floor in pairs dancing a simple
movement pattern such as four jumps and four
runs. Now move across on the diagonal using a
zigzag pathway. For each crossing of the room,
use two different kinds of locomotor movement
such as a run on the Zig and a hop on the Zag.

17. Diagonal Dance
• In partners, create original Diagonal dances that will
explore diagonal space in shapes defining personal
space (section A) and in general space pathways with
locomotion (section B).
• Design a beginning shape with your partner,
emphasizing diagonals. Section A should include four
nonlocomotor movement shapes with smooth logical
transitions. Transition smoothly to section B. Section
B should feature locomotor movement on different
diagonals (zigzags) and move to a different spot in the
room. Finish the dance in a diagonal pair shape.

18. Dance Compo1
Dance Compo(2)