一，先秦――萌芽产生期；

二，汉魏六朝――发展成熟期；

三，唐宋金元――深入扩展期；

四，清明――繁荣鼎盛期；

五，近代――中西结合期。

前四个时期为古代，第五个时期为近代。这几个时期无论在社会发展阶段、文学创作状况、文学思想和文学理论批评发展方面，都有明显的特点。

从历史发展方面来看，先秦时期时间是比较长的。它包括了原始社会、奴隶社会两个大的社会发展阶段，一直到封建社会的前期，是封建社会的上升发展时期。唐宋金元处于封建社会发展的中期，是封建社会繁荣鼎盛的时期，但同时封建社会的各种社会矛盾、民族矛盾也愈来愈激化。明清是封建社会的后期，是封建经济由繁荣走向衰落，封建制度开始逐渐崩溃的时期，并且已经有了资本主义萌芽因素的出现。近代则是半封建半殖民地的时期，一方面是帝国主义的入侵，另一方面西方的科学文化也开始较多地传入中国，近代西方的文学和美学思想也逐渐被介绍到中国来。这些社，发展的特点对文学创作和文学思想的影响是相当明显的。

从文学创作的发展来看，先秦是中国古典文学发展的奠基时期。《诗经》和《楚辞》是中国古代诗歌发展的源头，同时也是后代难以企及的不朽之作，诗、骚的传统也就是中国古代诗歌的传统。先秦的散文十分繁荣，不论是诸子散文还是历史散文，都对后代散文（特别是古文）的发展产生了极为深远的影响。

汉魏六朝是中国古代文学的各种艺术形式开始形成、并逐渐成熟的时期。各种形式的诗歌（如五言、七言、杂言等古体诗，乐府诗，民间歌谣，以及律诗、绝句等近体诗的雏形），大都是在这一时期形成发展起来的。诗歌的格律，诗歌的艺术表现技巧，也日趋成熟。辞赋、骈文得到迅猛的发展，笔记小说等也出现了。散文则从诸子、史传中分离出来，而成为独立的文章。各类文章体裁（包括诗、赋等）据刘勰《文心雕龙》的归纳达三十多种，如加上其分支达六、七十种，基本上包括了中国古代诗文的各种文学体裁。

唐宋金元是中国古代文学发展的高峰期；是中国古代正统诗文创作的黄金时代。许多伟大的文学家，如王维、李白、杜甫、白居易、苏轼、陆游等诗人，散文方面韩愈、柳宗元、欧阳修、三苏等唐宋八大家，代表了中国古代诗文的最高水平。词作为诗的别体，也在这一时期形成并发展到最高峰。唐人传奇和宋代话本，则为中国古代文言和白话小说的进一步发展奠定了基础。戏曲也在这一时期成熟发展，以关汉卿、王实甫为代表的元曲，标志着古代戏曲已达到了相当高的艺术水平。

明清时期与封建制度本身的衰落相适应，作为正统文学的诗文已没有多少新的成就，开始走下坡路了。而与商品经济繁荣和市民阶层扩大联系较为密切，被封建贵族官僚斥为“不登大雅之堂”的小说、戏曲，则有了大的发展，实际上成为这一时期文学发展的主流。著名的《三国演义》、《水浒传》、《西游记》、《金瓶梅》、《红楼梦》、《聊斋》、《儒林外史》等小说，以及《牡丹亭》、《桃花扇》、《长生殿》等戏曲，都产生在这个时期。

近代文学则与半封建半殖民地社会特点有密切联系，受到西方资本主义发展的影响，具有明显的改良主义色彩，也产生了鼓吹资产阶级革命的文学作品。

从文学思想的发展来看，与上述社会发展特点和文学创作状况相适应，这几个时期的特点就更加鲜明了。先秦时期是中国古代思想的萌芽产生期，特别是先秦诸子从哲学、美学思想上为后来文学思想的发展奠定了基础。其中儒、道两家思想体系中所包含的文学和美学思想，几乎主宰了整个中国古代文学思想的发展。但是，先秦时期还没有完整的、独立的文学理论批评著作，许都有关文学、艺术和美学的论述，都是蕴藏在儒家经典、诸子著作。历史著作之中的。这一时期所提出的一些基本的文学理论观点，包括一些基本的艺术理论观点，例如“诗言志”、“兴观群怨”、“文质彬彬”、“大音希声、大象无形”、“天籁”、“天乐”、“解衣般礴”等，以及哲学思想上那些与文学思想有密切关系的虚静、物化、形神、言意等重要命题，都是文学思想发展中带有根本性的重大问题，并对中国古代文学思想的发展产生了极为深远的影响。

汉魏六朝是中国古代文学思想的发展成熟期。西汉后期，文学已经与哲学、政治、历史等相分离，而成为独立部门。从文学思想发展的特征来看，两汉经学时代儒家的文学思想得到较为充分的发展，总结了先秦儒家文学观，并作了适合封建大一统要求的改造。六朝玄学时代，道家文艺思想经过玄学的发展更加完备，并在某些方面和佛学相结合，对文艺思想的发展产生了极为深刻的影响。这样，就形成了中国古代文学思想“外儒家而内释老”的基本特征，在文学的外部规律方面以儒家为主，而在文学的内部规律方面则以道家、玄学和佛学为主。这个时期不仅产生了像刘勰《文心雕龙》那样不朽的文学理论批评巨著，而且形成了中国古代具有民族特色的文学理论体系，以及一整套自己独特的理论概念、名词术语、美学范畴。

唐宋金元是中国古代文学思想发展的深入扩展期。它在汉魏六朝的基础上，对一些基本的重要文学思想、文学理论问题，作了更加深入的阐说和发挥。尤其是对以意境和韵味为中心的文学创作和文学鉴赏理论，从各方面作了充分的论述，出现了像皎然、司空图、苏轼那样重要的诗歌理论批评家和严羽《沧浪诗话》那样影响深远的著作。这一时期的文学理论批评著作总结了中国古代文学发展高峰时期的丰富创作经验，产生了大量的诗话文话，使诗文理论批评发展到了一个新阶段，并且已经有了戏曲、小说理论批评的萌芽。

明清时期使中国古代文学思想发展的繁荣鼎盛期，特别是明末到清代乾隆、嘉庆这段时间，文学理论批评从总体来说，无论是在数量和质量上，还是在深度和广度上，都达到了前所未有的水平。这一时期的诗文理论批评，主要是在总结前人经验的基础上，将之进一步系统化和引向深入，并提出自己的新见解，像王夫之、叶燮、王士禛、沈德潜、袁枚等的诗论和桐城派的文论，就都有这种特点。而表现这一时期文学创作新特点的小说、戏曲理论批评则有了相当的发展。因此，明清不仅是多种文学形式的理论批评同时发展的时期，也是对中国古代文学理论批评从各方面加以总结、发挥的时期。

从1840年鸦片战争以后，中国进入了半封建半殖民地的近代社会，这时期文学思想发展的重要特点是西方文学思想和美学思想的开始引进，并且提出了如何把西方的文学和美学思想与中国传统的文学和美学思想相结合的问题。所以，我们把这一时期称为中西结合时期。王国维的《人间词话》就是这一时期最有代表性的著作。

整理自《中国文学理论批评发展史》张少康 刘三富 著 北京大学出版社

先读后看 !
这张照片拍自马德里。
这张照片让我们知道，在世界任何地方都存在着贫穷。当看到这个贫困的女人手里拎着塑料袋，衣衫褴褛，衣不蔽体的时候，真让人心碎。请不要对他人无动于衷，请将这个邮件转发给你的朋友们，感动他们吧！如果这个传送链因你而断开，说明你根本就没有心！

http://www.qingdaonews.com/gb/content/2003-10/09/content_2123310.htm

——长江断流。

　　公认6300公里，目前实为6211.3公里的中国长江，历史上记录了它两次突然枯竭的史实，令人费解不已。

　　公元1342年，江苏省泰兴县（现在泰兴市）内，千万年从未断流的长江水一夜之间忽然枯竭见底，次日沿岸居民纷纷下江拾取遗物。突然江潮骤然而至，淹死了很多人。1954年1月13日下午4时许，这一奇怪现象在泰兴县再度出现。当时，天色苍黄，江水突然出现枯竭断流，江上的航轮搁浅，历经两个多小时，江水汹涌而下……

——千古迷窟。

　　在安徽省黄山市新安江屯溪段下游南岸连绵群山中，林木葱郁，环溪矗立的山间有36座（处）古石窟，洞中空间奇大，结构怪异，有的层层叠岩，洞中套洞；有的水波荡漾，迂回通幽；有的石柱擎天，奇幻神秘。洞中无壁画、无佛像、无文字。其中被命名为35号的石窟，洞深170米，面积1.2万平方米，仅掘出的十几万立方米石料，就足以铺就成一条由黄山市通往杭州市的公路。

－－鄱阳湖“魔鬼三角”。

　　1945年4月16日，2000多吨级的日本运输船“神户丸”行驶到江西鄱阳湖西北老爷庙水域突然无声无息地失踪（沉入湖底），船上200余人无一逃生。其后，日本海军曾派人潜入湖中侦察，下水的人中除山下堤昭外，其他人员全部神秘失踪。山下堤昭脱下潜水服后，精神恐惧，接着就精神失常了。

　　抗战胜利后，美国著名的潜水专家爱德华·波尔一行人来到鄱阳湖，历经数月的打捞仍一无所获，除爱德华·波尔外，几名美国潜水员再度在这里失踪。

　　过去了40年后，爱德华·波尔终于向世人首次披露了他在鄱阳湖底失魂落魄的经历。他说：“几天内，我和三个伙伴在水下几公里的水域内搜寻“神户丸”号，没有发现一点踪迹。这一庞然大物究竟在哪里？正当我们沿着湖底继续向西北方向寻去时，忽然不远处闪出一道耀眼的白光，飞快向我们射来。顿时平静的湖底出现了剧烈的震动，耳边呼啸如雷的巨响隆隆滚来，一股强大的吸引力将我们紧紧吸住，我头晕眼花，白光在湖底翻卷滚动，我的三个潜水伙伴随着白光的吸引逐流而去，我挣扎出了水面……”

——三番五次骚扰的怪火。

　　在江西鄱阳湖畔的波阳县（原为鄱阳县）莲湖乡朱家村，村民朱满善、朱松善家里无缘无故地不断发生火灾，火星红色，线型走状，每次起火都很奇怪，易燃的东西没烧着，难燃的物体偏偏着火，而且火势无论多大，每次浇上一点水即灭，1995年3月23日至4月6日，朱家已发生大大小小不明原因的火灾20多起。

——“巴别”通天塔。

　　地处幼发拉底河东岸的巴比伦城，距伊拉克首都巴格达南约100余公里。这里矗立着一座年岁久远的“巴别”塔，当地人称之为“埃特曼南基”，意为“天地的基本住所”。但是，为什么要建造通天塔呢？它是奴隶制君主的陵墓，还是古代的天文观测之地？至今没有人能回答。

——原始部落神殿遗址。

　　在黎巴嫩巴尔别克村，有一个原始部落遗址，它的外围城墙是用三块巨石砌成，每块都超过1000吨，即100万公斤，其中仅一块石头，就可以建造三幢高5层、宽六米、深12米的楼房，且墙厚度达30厘米。这三块巨石在当时怎样运来的，有谁知道？

——那不勒斯“死亡谷”。

　　在意大利的那不勒斯和瓦勒尔湖附近，有两处“死亡谷”，只危及飞禽走兽，而对人的生命却没有威胁。每年在上述“死亡谷”丧命的各种动物多达3万多头（只），是世界上破坏生态平衡的最大“原凶”。

——比萨斜塔千年不倒。

　　坐落在意大利北部佛罗伦萨市的比萨斜塔至今已有828年历史。此塔建至一半以上高度时就开始倾斜，斜度为1.2至1.5米，已饱经风霜820年，有望创下“千年不倒”甚至“万年健在”的记录。

——马耳他岛上的轨迹。

　　面积为316平方公里的地中海中部岛国马耳他，有一条奇特的轨迹，凹槽深度达72厘米，一直延伸到地中海中深达42米的地方，说它是车轨吧，但它又显示出明显不同的辙印，从古到今，产生过关于轨迹的20多种猜想，无一能成立。

——加州“死亡谷”。

　　在美国加利福尼亚与内华达州相毗邻的山中，也有一条长达225公里，宽度在6至26公里，面积达1400平方公里的“死亡谷”，峡谷两侧悬崖峭壁，异常森严。1949年美国有一支寻找金矿的勘探队，因迷失方向而误入此谷，几乎全军覆没。有几个人侥幸脱险爬出，之后不久也不明不白地死去。此后，也曾有多批探险人员前去揭谜，除大多数葬身此谷外，幸存者也未能揭开这个迷，令人不可思议的是，这个地狱般的“死亡谷”竟是飞禽走兽的“极乐世界”——200多种鸟类、10多种蛇、7种蜥蜴、1500多种野驴等动物在那里悠然自得，逍遥自在。

——动植物一边倒的神秘地带。

　　在北纬30度附近的美国加利福尼亚州圣塔柯斯小镇的郊外，有一个神秘地带，这里是一个片茂密的树林，所有的大树都向同一个方向大幅度倾斜，人也毫不例外，人进入此处无论如何也无法垂直站立，身子竟会不由自主地与树木向同一个方向倾斜而不跌到，且还能稳步如飞，不费力地行走，即使从空中落下的物体，包括鸟类也都往一个方向倾斜，神秘地带出现的种种怪异现象，完全违反了牛顿的万有引力定律。

——百慕大魔鬼三角区。

　　百慕大是一个奇怪的地方。在这里不明不白失事的飞机多达数十架，轮船100多艘，不仅如此，百慕大还出现过许多穿越时间隧道失踪，而又突然出现，且“使人年轻”的传闻。

　　在全球，当人们一提到百慕大，就会感到毛骨悚然，一个科学团体认为，此处可能有一个巨大的陨石。据研究，约1500年前，有一个巨大的陨石从太空飞来，掉入大西洋。这块大陨石犹如一个大黑洞，具有极大的吸引力，连光线也能吸引进去，何况飞机、轮船。墨西哥半岛上的伯利兹也曾经飞落过一颗陨石，摧毁了地球上万物生灵，其尘埃在地球上空弥漫十年之久。百慕大离伯利兹不远，是否是受双重影响也不得而知。

　　如果陨石造成百慕大魔鬼三角区的论点成立的话，那么北纬30度一线附近的种种怪异现象是否也可用陨石论的观点来解释。

　　西方著名科学家赫尔比格曾提出过一个令人惊叹的理论，地球在其46亿年的历程中，先后捕获了4颗卫星，即4个月亮。这4个月亮恰好跟地球的4个地质年代相符合，同地球4次大变动相印证。我们今天看到的月球是地球的第四颗卫星，前三颗由于在运行中离地球太近，最后都坠落了。在坠落到地球赤道偏北附近三个地方之前，他们发生了爆炸，摧毁了世界上万物之灵，地球变形了，形成了太平洋、印度洋和大西洋，三颗月亮落地中心除印度洋以外，其他两颗硕大的月球都是在北纬30度附近，不仅形成了三大洋，其地球内部地核结构也发生了剧烈的变化，使地球自转和绕太阳公转的轨道均呈倾斜。

　　但也有人认为，地球运转轨道呈斜形是面积217.56万平方米的格陵兰岛亿万冰雪融化导致地球失去重心所造成。还有人认为，地球运行呈斜形（往西北方倾斜）并非上述两大原因所致，而是地球的卫星——月亮在起作用。因为月亮始终是绕地球转的，地球被月亮牵制住了。众说纷纭，但这些说法与神秘的北纬30度主题都离得较远。

 我的MV收藏夹：http://kellywicca.blog.sohu.com/#tp_17a1ce4b9c9

从苏州回温州的高速公路上有一头落单的猪使三辆轿车紧急刹车，我们坐的大巴因为体积庞大没法刹住撞上最后一辆车的屁股。那头猪身上带血，嘴唇撞坏，惊恐地立在路边；那三辆轿车头尾损伤严重，幸无人员伤亡；我们坐的大巴车头玻璃撞裂，车灯撞飞；坐在第一排的汤米和我撞得头晕脑胀，有惊无险。这一系列事件的结局是所有的当事车开的开，拖的拖，都到了下沙附近的一个事故车处理场。司机们联系保险公司和另一辆大巴接走客人；我们一车三十七个人被搁在许多事故车的残骸中间，无助地等待救援。汤米说：“真是没想到我们会在这么一个地方停留这么久。”我抬头看见欲阴欲雨的天空下一个巨大的电线塔中间搭了一个鸟窝，小鸟们群聚而来。心想：飞鸟会在哪里停留最久？会因为什么而停留？又觉得这样的想法很无聊：飞鸟绝对不会想到自己有一天可能因为两只脚分立在电线上而葬身高空吧。紧接着我又想珞巴人要把死了的人葬在树上。那天空里掉下来的是死鸟还是死人呢？应该都不会的――天空里飘着的是许多魂，就如地上点着的灯一样多。我看了看汤米的笑脸和修理车间外面瓷砖上反射的远处的灯光，便觉得来接我们的车就快到了。

七点多的时候我们坐上了来接应的从临海出发赶到下沙的大巴，朝着温州的方向一路奔去。不料原事故大巴的司机接到上头电话让他在杭州下车。他随即要求本车司机将他送到杭州市内。由于本车司机走的基本是从宁波镇海到温州的路线，对杭州一带并不十分熟悉，就被他忽悠着开到了杭州市内，又从里面掉头出来上高速，多花了一个多小时。上高速以后，本车两个司机极其郁闷，说那个下车的司机太过自私：他不顾一车乘客已经被耽误的时间以及他们两个饿了一天刚完一趟又折回接应的辛苦，竟会提出那么无理的要求。两个人絮絮叨叨了一阵，让我觉得既同情又有些过头，不过好处还是有的：防止他们睡着，提高行驶安全系数。汤米在他们俩的唠叨中睡倒在我身上，其他乘客也悄无声息，只有我一个人异常兴奋：撞车刺激了我的神经，也让我领略了雨雾天高速飞车的奇景。路上忽而雨雾朦胧，忽而灯火清亮；忽而山影幢幢，忽而隧道通明。浙江的丘陵地貌据说在早些年曾使许多司机命丧盘山公路，现在看看也并非夸张。从山岭忽然过渡到平原的时候，常常会有一股横风忽然使前方两米以外的能见度降为零，这使高速公路也平添了许多危险。我看着觉得刺激，同时也为司机捏一把冷汗。夜渐渐深了，我们前后两百米内常常见不到一辆车，只有遥远处的汽车红色尾灯若隐若现，消于无形。旁侧相对而来的车辆开亮的前灯在雨雾中照出一片印象派的黄色之光，我对着醒过来的汤米说：“诶，你看这光，前面拐过那山头就好像是天堂了一般。”汤米赶忙说：“别瞎说，要进天堂了，那我们不是出车祸了嘛？！”我一想也对：哈哈，原来天堂还是要死了才能进的。我才明白自己有这样的思维定式：所有美丽而又朦胧的地方都是天堂。

 宗教的真实力量

午夜零点多的时候总算到了温州。陈叔（汤米的爸爸）过来接我们。在苏州的时候根据汤米的描述，我总担心跟陈叔不容易相处，后来几天的接触证明我的担心是多余的。他先把我们拉到一个鱼圆馆吃夜宵。大半夜的这样的馆子还开着，还能让我们吃到温州最有特色的小吃，着实是一大惊喜――要知道刚才路上我可是把平时最讨厌吃的肯德基、方便面、卤鸡蛋都一扫而空了。由于常年在外，我的温州话水平已经赶不上普通话和英语了，没想到陈叔居然说自己也喜欢讲普通话。不管是照顾我还是真实情况，这对于一个不离本土的温州人来说，并不是多见的情况，更何况是我们的长辈。看着他乐呵呵的神情和健康的肤色，我不得不相信宗教的力量。据说陈叔年轻的时候也比较浪荡，只在最近半年才忽然“改邪归正”了。他的训导很多是从天主教堂来的，但经他一说并不觉得很别扭。以前我也听过一个同学的妈妈跟我说这个，当场没让我晕过去。现在或许是我心态老了，也或许是我明白了一些事情。但不管怎么样，最戏剧性的还是陈叔年轻时候的故事。比如他当年从绍兴的酒厂运酒到温州的时候，曾在酒厂里转过几圈，了解到所谓的“五年陈酿”、“十年陈酿”的只是一池酒里倒进去一瓶完全陈酿的酒然后再分瓶装出来的。也就是说市面上卖的这些陈年好酒一瓶里估计只有几滴是陈年的“琼浆玉液”。而这种生产方式完全是正规合法的。那可见假酒的生产方法有多恐怖了。还有出租车乘客经常因为下车过于匆忙会把五十元当成十元给司机，这种事情的发生频率也不低。如果一个司机的道德素质不高，这完全会成为他的“正当收入”。可惜我跟陈叔一起聊天的时间并不多，就听到了这些，估计他当年走南闯北开大车时候的趣闻会有很多。他老人家后来一句话总结为：道德是1，财富，名誉，等等都是0；只有道德这个1竖起来了，后面n多个0都是好事；如果没有这个1，所有的东西都相加也还是0。这句话我估计哪里听过，但这次体会却是最深。

满街都是“宝马”在“奔驰”？

在汤米家吃完年夜饭后我爸爸来接我们回家。昨天夜里一到站就想着睡觉，也没多大注意温州有什么变化，今天白天坐在车里四处张望，发现路是变宽了一些，路上跑的车子却好得夸张。汤米说路上跑的十辆车里估计就有一辆奔驰一辆宝马，结果回苏州前一天晚上我爸爸送我到汤米家时发现停在斑马线前面等红绿灯的六辆车里就有两辆奔驰一辆宝马。根据汤米的说法，开辆奔驰去借钱应该比开辆别克借到的钱要多一些；而根据我爸的说法，他的丰田在温州已经属于中下等车，但是开着去讨债还是方便的；根据我的经验，苏州跑的多是国产车或者现代、小别克，宁波跑的什么我也忘了，但是就在去汤米家的路上车经过一个垃圾场时，有一个伛偻的拉着满载垃圾的小板车的身影，却在春节爆竹声声的新年夜里重构了温州的一种真实生活图景。我是有强烈怀旧情绪的人，甚至怀念那种似乎没有记忆过的油壁香车的时代。当速度成为一种最前沿的时尚，还有什么风景可以让人长久停留？记得马哲老师李海洋的一番话：“我总算明白了什么叫作后现代艺术，就是坐磁悬浮时朝外面张望时看到的景色。”我分不清这是一种喜还是哀。喝茶那天瑶瑶说她一个亲戚买了辆奔驰跑车。或许温州人所追求的就是那种一家三口两个车座，一条马路跑不上80的时候却拥有一辆几百万跑车时的感觉。这也是为什么我每次回家都成了一种艰难。温州人的经商之道是一笔直接创造财富的财富，于我，或许是下辈子才有可能学着去欣赏。初七回苏州的火车上，一个安徽人发了句感慨，大致意思是：城市是个瘤，它的发展总是如此迅速，一旦形成就难以除去，也很难恢复它成为瘤之前的状态。瘤，那总不是个什么好东西吧。想到地球上有这么多个大大小小的瘤，比较恶心。我抬头看到车窗外梯田上一株淡色的桃花，和桃花下一个锄地的农妇，忽然对今年没有去茶山看外婆的事儿悔恨起来。

Content

In Labanotation, it is possible to record every kind of human motion. Labanotation is not connected to a singular, specific style of dance (unlike other dance notations e.g.: Benesh Notation is based on English classical ballet). The basis is natural human motion, and every change from this natural human motion (e.g. turned-out legs) has to be specifically written down in the notation. Actually, this text contains some pictures with turned-out legs, without writing it down in the notation - this is not correct but I have done it to keep the scores as small as possible. For all pictures showing the ballerina you have to use the Ballet-Key Signatures.

This text describes Labanotation in the form of "Structural Description". A way of writing which tries to record every aspect of motion as precisely as possible. There are two other systems of writing: "Motif Description" and "Effort-Shape Description". Motif Description is a kind of simplified "Structural Description" - you only write down what you think of as important. You could write for example its a kind of forward directed movement without saying if you creep or jump. Effort-Shape Description is used to record the energy content of a motion. It is used in industrial research as well as in physiotherapy and psychotherapy.

2.1. The columns - Which part of the body?

L = Left side
C = Centerlinie
R = Right side
1 = Support column
2 = Leg gesture column
3 = Body column
4 = Arm column
5 = Head column

Column 1 the support column has the special function of recording transference of weight (e.g. steps). Every change of the center of weight is recorded in this column. This column also keeps track which part of the body carries the weight (by default: the foot), and also the absence of a weight carrying body part (jump). If no part of the body is carrying weight this column is empty.

All other columns are used for recording gestures. Gestures are all movements taking place without carrying weight on this part of body. Is the leg for example extended to the side in the air and should be now carried to the back, this action is notated in column 2. While in the support column an empty space means absence of weight, an empty space in all the other columns means absence of movement in the specific part of the body, then this part of the body keeps its relation to the part of the body its attached on.

You can add as many columns on both sides of the staff as needed. To describe which part of the body is recorded in the individual column a presign is added to the movement. In column 1, 2 and 4 usually no presigns are needed. If no body part presign is in this columns it is assumed that in column 1 the weight is carried by the foot, in column 2 the leg gestures are recorded and in column 4 the arm gestures are recorded (If someone is walking on the hands a hand presign would be added to the movements recorded in column 1).

2.2. Structure the staff

A = Line at the start of the staff
B = Starting position
C = Double line indicates the start of the movement
D = Short line for the beat
E = Bar line
F = Double line indicates the end of the movement
G = Large numbers for the bar
H = Small numbers for the beat (only in the first bar)

If there is no specific starting position the staff starts at C. If more than one staff is needed to record a longer movement sequence, then a single bar line is placed at the end of the individual staff to indicate that the movement sequence is continued on another staff. On the beginning of the staff where the sequence is continued there is also only a single bar line.

There are some other signs used to structure the staff, like artificial bar lines and different kinds of repetition signs.

3.1. The timing - When (does it happen)?

Here is a sample of the simplest way of recording movement - the action stroke. The action stroke only indicates that an action takes place in a specific part of the body and over what period of time this action takes place. In this example, first a transference of weight to the right foot takes place in bar one: beats one and two. Then next in bar one: beat three and bar two: beat one, a transference of weight to the left foot takes place. Next in bar two: beat two, the support column is empty therefore a jump occurs, simultaneously the right leg performs a gesture and the arms are moving (slightly longer than till the start of beat three). At the end, an action in the support columns of both legs occurs therefore the weight rests on both feet.

3.2. The direction symbols - What (happens)?

There are nine horizontal direction symbols derived from the rectangle.
P = Place
F = Forward
B = Backward
L = Left
R = Right
LF = Left forward
RF = Right forward
LB = Left backward
RB = Right backward

The signs are modified by three kinds of shadings to indicate the vertical dimension.
U = Up, high - the sign is hatched.
M = Middle - a point is added in the middle of the sign.
D = Down, low - the sign is shaded black.

Here again the example, now including direction symbols. In the beginning I added a starting position. The person is standing on the left leg, the right leg is directed diagonal low to the back (the small hook on the sign modifies the direction in the way that the toe has contact to the ground - the sign is placed in the gesture column therefore no weight is on that leg). The right arm is directed straight up, the left arm is directed to the left side. The double line separates the starting position from the movement sequence.

The person takes a step forward onto the right leg in a middle level (normal stepping) and a step forward onto the left leg in a middle level. Next the person jumps from the left leg onto both legs. During the jump the right leg is moved diagonal forward low (45 degrees) and the arms are moved from the starting position to straight down. For the right arm, which started straight up it is necessary to write the movement over the right side because one rule of Labanotation says any movement occurs on the shortest way (here: straight down the body). Therefore I wrote the signs for side right and place down and I added a bow to the symbols that means the movements should occur as one movement.

3.3. The relationship pins

P = Place
F = Forward (in front of)
B = Backward (behind)
L = Left (of)
R = Right (of)
LF = Left forward (of)
RF = Right forward (of)
LB = Left backward (of)
RB = Right backward (of)

The pin symbol is modified for the vertical indication by using different types of heads:
U = Up (above) - a empty circle as head.
M = Middle (of) - a line as head.
D = Down (below) - a black circle as head.

The relationship pins are used in different ways:
1 = As sign showing the direction in the room. The pin is written inside a square.
2 = As intermediate position. The pin modifies the direction of the direction symbol 1/3 into the direction shown by the pin. The pin is written inside the direction symbol. Sometimes it is necessary to keep a blank space inside filled direction symbols to make the pin readable.
3 = It is possible to show intermediate positions by merging two pins together (Mostly used for room directions).
4 = As relation between two parts of the body (and in relation to the centerline of the body). Then the pin is placed beside the specific part of the body (here: the right foot is in front of the left foot - fifth position). This way it is for example possible to describe if the right arm is in front of the body or behind the body when directed to the left.

4. Arm and leg gestures

Arm gestures and the direction symbols
From left to right: place low; side low; side middle; side high; place high; front high; front middle; front low.

Leg gestures an the direction symbols
In the leg gestures place low is usually only possible in jumps - otherwise the floor is in the way (provided the leg is not contracted). All other symbols are used similarly to the arm gestures.

Arm gestures and intermediate directions
If the resolution of 45 degrees to coarse to write down the movement as exactly as necessary, intermediate positions can be used. A pin is added to the direction symbol to get a deviation of 1/3 into the direction shown by the pin. 22.5 degree - the point written in front of the second sign means - halfway into the second direction (both signs are connected by a bow). In using both - pins and halfway directions it is possible to get a resolution of 7.5 degrees.

Floor contact of the foot in low gestures
By using specific hooks on low direction symbol it is possible to indicate that the leg is not in the air at 45 degrees, but that a specific part of the foot has contact to the floor.
A = Full heel, B = 1/2 heel
C = Full foot
D = 1/8 ball, E = 1/4 ball, F = 1/2 ball, G = Full ball
H = Pad of toe, I = Full toe, J = Nail of toe

The limbs are not always straight, to show a specific degree of contraction and elongation or folding and unfolding there are specific space measurement signs written in front of the direction symbols - more below.

5. Center of weight and transference of weight

In principle only five things could happen:
1. Everything stays as it is.
2. The center of weight is shifted.
3. The weight is transferred - steps.
4. No part of the body carries weight - jumps.
5. The center of weight rotates - turns.

5.1. Hold weight (body hold)

A = The weight is on both foot, the legs are straight. Both arms are directed to place down.
B and F = If the weight should stay on both foot (or on both sides of the body on a weight carrying part of the body) a hold weight sign (the small circle) is written onto the middle line.
C = Any activity in one of the support columns (or a activity in the gesture column related to the hold sign) cancels the hold sign.
D = If the weight should remain on one part of the body the hold sign is written in the support column.
E = If the weight should be transferred from one leg to both legs a hold sign is written in the support column already carrying weight.
G = A activity in the gesture column related to the hold sign without a action or a hold sign in the support column shows a jump.

5.2. Shifting the center of weight

A = Starting position: The center of weight is in a middle level, it rest on both legs (=>the legs are straight). The arms are side low.
B = The center of weight is shifted to a low level. To achieve that the legs have to be contracted.
C = The center of weight has reached the low level.
D = The center of weight is shifted to a high level. To achieve that the legs have to be extended and the foot take a half point position (standing on the ball of the foot).
E = The center of weight has reached the high level.
F = The small circle is the hold weight sign therefore the space at the end of the score is no jump, the weight remains where it is (on both legs).

5.3. Transference of weight - steps

A = Starting position: The center of weight is in a middle level, it rest on the left leg. The right leg carries no weight there is no floor contact (it is slightly lifted). The arms are place low.
B = The weight is transferred from the left leg to both legs. To achieve this the right leg gets floor contact and shares the weight.
C = The weight is transferred to the front high on both knees (The body part sign in front of the direction signs in the support column indicate this).
D = The weight remains on the right knee. The left leg is raised to middle back. The right arm is carried to middle front, the left arm is carried to middle side.

Steps are transferences of weight from one part of the body to another part of the body (e.g. in walking - from one foot to the other foot).

A = Very slow steps (one half step per bar)
B = Very fast steps (one step per quarter note) first in low level - with bend knees (in Plié) like Groucho Marx. Next in middle level - normal steps. In the end in high level - steps on half point.
C = Balancé: The right leg steps to the right side into the Plié. Step on the left leg into the Plié in place in front of the right leg (indicated by the pin) - simultaneously the right leg sur le cou-de-pied back (the small x in front of the leg gesture is a Space measurement sign). Step on the right leg in place into Plié back - simultaneously the left leg sur le cou-de-pied front. In the next bar everything to the other side.
D = Minuet step: Arms diagonal front low. Step onto the right foot half point. Lower to full foot. Three small (half-)steps left, right, left - on half point. In the end lower to full foot.

5.4. Jumps

There are five basic forms of jumps:

A = Jump from both feet to both feet.
B = Leap from one foot to the other foot.
C = Hop from one foot to the same foot.
D = Assemblé form one foot to both feet.
E = Sissonne from both feet to one foot.

The length of the space shows the height of the jump. If the legs should do something special while in the air (e.g. be carried to the side) this is written into the gesture columns.

5.5. Turns

These are the signs for turns around the vertical axis:

A = Turn to the right.
B = Turn to the left.
C = Turn left or right (or untwisted state for gestures).
D = Its easy to remember the direction of the turns if you think of such arrows on the outer corners.
E = The degree of the turn is shown using pins. Here 1/4 turn to the left.
F = A 3/4 turn to the left.
G = A 1/4 turn to the right - the pin is dependent on the direction of the turn.
H = Here a example for a short sequence: starting position - fifth position (indicated by the pin beside the support column) right leg front. The body is directed into the diagonal - "croisé" (indicated by the pin left beside the staff inside the small square). A 1 1/4 turn to the right on the right leg, left leg sur le cou-de-pied, ending in the fifth position - right leg front - "effacé". Next a double turn on the right leg to the left - the rest as before.
I = Fifth position right leg back, half turn to the right on both foot (the sign for the turn is in both support columns). Now the right leg is in front (as result of the turn), Plié, jump performing a half turn in the air (action strokes in the leg gesture columns + turn on both support columns = turning jump), the movement ends in Plié.

Here are some signs to describe which part of the body should move:

Join signs:
A = Head
B = Right shoulder C = Right elbow D = Wrist of right hand
E = Right hand F = Right fingers G = Right thumb
H = Hip I = Knee J = Ankle
K = Foot L = Toes M Right knee

Limbs:
In adding a double line to a join sign a limb sign is generated.
N = Neck O = Arm P = Leg
Q = Right upper arm R = Right lower leg

Body areas:
In adding a box a specific area of the body could be described.
S = Chest T = Waist U = Pelvis V = Shoulder section W = Whole torso
By adding pins a specific surface of body areas could be described.
X = Upper front of chest

Area, surfaces and edges of hands and Feet:
A open box is used.
Y = Palm or sole of foot Z = Thumb or big toe edge.

There are additional signs to describe specific parts of the body, e. g. parts of the face, parts of the hand or parts of the foot.

7.1. Space measurement signs

1,2,3,4,5,6 = degree of the sign - from slightly in the first degree to totally in the sixth degree (e.g. a arm gesture using sign A1 in front of the direction sign is performed with slightly rounded arms).

A = Narrow, small distance, shortened, contracted
B = Wide, large distance, stretched, extended
C = Folding
D = Unfolding
E = Joining - for lateral movements
F = Spreading - for lateral movements

It is possible to add specific directions to the signs. Lines are added to the narrow and wide sign, the other signs are turned into the specific direction.
G = Narrow 1. degree over front; - over front right;
Wide 1. degree over back; - over left.
H = Folding 1. degree over front; - over front right;
Unfolding 1. degree over back; - over left.

I = Three dimensional contraction (e.g. making a fist)
J = Three dimensional extension

A = Limbs marked by a narrow or wide sign are contracted or extended along a straight path.
B = Limbs marked by a folding or unfolding sign are folded or unfolded along a (based on the main direction of the limb) curved path.

C - H = Example for the use of the narrow or wide sign:
D = Step with slightly bent knee onto the right leg (the degree of the contraction - the distance of the center of weight to the floor is described by a narrow or wide sign beside the direction sign. The direction sign is shaded to indicate the approximate level of support).
E = The same with the left leg, the right leg sur le cou-de-pied.
F = Jump - both legs are straightened (wide sign in front of the direction sign) right leg front low, left leg back low - both leg are slightly close together (narrow sign beside the direction sign).
G = Landing on the right leg knee slightly bent (narrow sign beside the direction sign).
H = Two (in terms of space) short steps (narrow sign in front of the direction sign).

I = Sample for the analysis of a hand gesture:
The hand is three dimensionally fully contracted, the index and the middle finger (points on the finger sign) are extended and spread.

7.2. Accent signs

A = A slight accent (only a soft or no sound appears if one part of the body touches another part of the body).
B = A strong accent (a sound appears if one part of the body touches the another part of the body).
C = A stronger accent could be expressed by two or more accent signs.
D = Passive motion.
E = Shaking motion.
F = Uplift, buoyant.
G = Weighty, heavy - as reaction to the pull of gravity.
H = Strong.
I = Gentle.
J = Relaxed.
K = Emphasised.
L = Unemphasised.
M = Resilient.
N = Strong resilient.

O = A example of the use of accent signs:
Three short stamping steps, followed by three claps of the hands (for bows see below).

7.3. Key Signatures

Here for example the key signature for ballet:
The legs are turned out and straightened, the elbows are slightly turned inward and rounded.

The key signature is enclosed by double lines. The key is always in affect if nothing different is written. If something in the score should be done as written without using the key, a * (asterisk) is used.

8.1. Vertical bows

A = A round bow ("simultaneous action bow") connecting different parts of the body in the same column show that actions are done simultaneous (here: leg diagonal front low and simultaneous the foot diagonal front up - "flex").
B = Without a bow actions in the same column are done one after the other (here: first leg diagonal front low, next foot diagonal front up).
C = A round bow ("phrasing bow") connecting the same part of the body show the phrasing of the movements (here: arm starting at low over front to up, next arm from up over back ending low).
D = The same but now in one instead of two phrases.
E = Here the "simultaneous action bow" show two movements overlapping in time (here: arm to front - already in the second half of the arm movement the lower arm starts moving to left side middle, in the second half of the lower arm movement the rest of the arm moves no more).
F = A body part sign inside a round bow shows the leading part of the body for this movement (here: the elbow is leading the turn).
G = A bow with round corners includes a specific part of the body into the movement (here: the shoulder is included into the arm movement).
H / I = A bow with rectangular corners adds a specific aspect to the movement (here: H all movements are accented and I all movement are short in terms of space).

8.2. Horizontal bows

There are basic forms of horizontal bow showing a short term connection in terms of space:

A = Basic form of the bow for "address" - if someone looking or pointing to someone or something, this bow is used.
B = Basic form of the bow for "near" - something is in terms of space near without touching it.
C = Basic form of the bow for "touch" - something is touching something (e.g. the clapping of the hands above).
D = Basic form of the bow for "support" - if someone or something is lifted or a part of the weight is taken this bow is used.

The basic forms of bows are modified in several ways:

E = Using a space measurement signs - The narrow sign shows a maximum of closeness (e.g. touching of the hand means grabbing).
F = Using double lines - for a passing or sliding movement (e.g. wipe the hands).
G = Using a "hold" sign - for a lasting connection in space. This connection lasts till explicit cancelled.

9.1. Paths

A = A straight path.
B = A rounded path turning to the right.
C = A straight path to the left.
D = A small quarter circle to the right.
E = Turning on a straight path (e.g. a waltz).
F = A increasingly getting larger round path (spiral) to the left.

9.2. Floor plans

A = Symbols for the starting position of the actors (Girl Boy Person).
B = Symbols for the ending position of the actors (They are used if its necessary to show the end position).
C = A example for a floor plan. The rectangle is opened to the audience. The bar numbers are written below the floor plan.
D = Signs for notating the positions in the room.
E = A wide sign added to a position sign show a position outside the stage.
F = A narrow sign added to a position sign show a position near to the center of the stage.
G = To get inbetween positions two signs are used.
H = Pins added to the position signs further divide the parts of the stage.

My brief look at Labanotation ends here. There are some signs which I have not described here and many, many details. A language for describing human motion has to be as easy as possible and as complex as necessary - Labanotation fulfils this demands.
The language of the human body is complex and it will not be possible to do a satisfying simulation of it using computers before computer scientists give up their rough simplifications in simulation and notation of movement and use the experiences collected in the last seventy years (and the centurys before) in dance notation and make them their own.
To get more information on Labanotation go to your library or bookstore and get the book of Ann Hutchinson: "Labanotation".

http://user.uni-frankfurt.de/~griesbec/LABANE.HTML

    书有将近四百页，我才看完蛮族和亚洲部分，蛮有意思。刚好情人节也快到了，就摘录古代亚洲歌曲中的情歌部分的歌词与大家同赏。这其间我能感受到一些或是《诗经·郑风·將仲子》中的忧惧，或是《上邪》中的炽烈，也或是自由胜于爱情的坚决，等等，不一而足。亚洲是一个古老的大陆，各个国家和地方的历史风情又相差甚大。在中日等伦理为本和西亚阿拉伯国家宗教至上的不同国情之间，爱情的演绎也是各有千秋。不过无论如何，一种远古时代的淳朴之风还是迎面而来。其间似有一人浅唱－－“莫春者，春服既成；冠者五六人，童子六七人，浴乎沂，风乎舞雩，咏而归。”这是一个失落了千年的春梦，又有多少人还会为此扼腕叹息？

Japanese:

Yes! eager is my longing
To look upon thy face,
With thee some words to speak!
But this I must renounce;
For should it in my dwelling
Once chance to be divulged,
That I with thee had spoken,
Then grievous were the trouble
Would surely light on me:
For certain my good name
Were lost for evermore.

Indian:

O vain the attempt to describe the sweet pleasures,
The exquisite bliss which from Love doth proceed,
For they change every moment, and lo! at this bidding,
New pleasures and sweeter each other succeed.

From my birth I may say; I have looked on Love's features,
But my eyes are insatiate,-- would see them more clear,
Tho' oft have I heard his low tones of endearment,
Their accents seem new, O so new to the ear!

With him have I pass'd long nights of deep rapture,
But no trace of those transports:--tho' long have I griev'd;
For cycles I've kept him enshrined in my bosom,
Still my heart's bitter anguish remains unrelieved.

O Love has been worshipped by poets unnumber'd,
But none has the spirit of Love e'er divined,
Says sage Vidyapati,-- to give balm for the heart-ache
In hundreds of thousands not noe shall we find.

Indian:

Love! what more shall I say?
In life, in death, in after-life,
    I'll be thy duteous wife.
Yes! to thy feet my heart is tied
    By silken ties of love,
I offer all,--my heart and soul;
    I'll be your doating slave!
I've thought if in this wide, wide world
    Another friend I own,
In loving tones to name my name,
    Alas! Alas! there's none!
On earth, in heaven, in after-world,
    Alas! who loveth me?
Oh! to thy feet, I turn for help,
    To thee alone! to thee!
Oh! do not spurn me-- I am weak,
    Oh do not turn away.
I've thought and felt, without thy help,
    I have no other way.
If for a moment thee I miss,
    A death-like trance I own;
I'll keep and nurse thee on my heart,
    E'en as a precious stone.

Indian:

I know where Krishna tarries in these early days of spring,
When every wind from warm Malay brings fragrance on its wing;
Brings fragrance stolen far away from thickets of the clove,
In jungles where the bees hum and the Koil flutes her love;
He dances with the dancers , of a merry morrice one,
All in the budding spring-time, for 'tis sad to be alone

Persian:

－－Joy and bustle resound in Shiraz; a sugar-mouthed girl came there. Faith! Reyhana, come and embrace the Mussul-man creed.
－－Truly! I will not turn to the Mussulman faith. I will not to be a Mussulman. If I do so, I shall be killed. O, Shahzade! restore Reyhana to liberty.
－－I will give thee a turban and a calotte; I will give thee a cashmere shawl and a satin petticoat; I will give thee a dagger richly set with diamonds. I will bestow on thee riches and plenty. Come, Reyhana, and embrace the mussulman faith.
－－I do not want wither a turban or a calotte. I entreat you in the name of Allah, Shahzade! restore me to liberty!

Persian:

Ferruh walks proundly through the bazzar. I perceive her red dress. I am afraid she will come to me. Woe to me! Ferruh has kindled a fire in my soul! O do not be cruel-- do not spill my blood!
Ferruh's dress is scarlet; her face shines, burns! Ferruh is a kid, born in the spring. O do not be cruel-- do not spill my blood! Ferruh's eyes call me. My fancy dreams odd freaks. Her beauty makes a Mussulman of a Kafir. O do not be cruel-- do not spill my blood!
I will write your name on a slip of paper; I will put it near my heart, and will keep it there. I will steal you from your father! Woe to me! O do not be cruel-- do not spill my blood!

Turkestan:

Having fettered my camel near the source of the river Manich, whose waters are bitter, I should like to sit with my Sogonda and play with her, snatching the smoking pipe from her.
The brand on my wild grey horse has the shape of a gun. If, after having him well bridled, I could run away from my Sogonda, should be guilty?
The crows and the owlets sit in rows on the bushes. I shold like to play with the sweet-tongued Sogonda, wresting a steel and a flint from her.
The grass is waving on the meadow; the image of the beautiful Sogonda comes to my mind. What is she doing now; she who shared her heart and thoughts with me?