The Theory of Fall and Discovery

The Theory of Fall and Discovery

Doris Humphrey, who was among the most influential modern choreographers, played a critical role in shaping the course of contemporary dance in America. Her formulation of choreography for the ensemble is considered as one of the significant contributions as far as United States’ dance is concerned. Doris’ innovation in dance movement and choreography forms a considerable contribution reflected by modern scholars and academicians when analyzing the progress within the music industry. As a talented and avid student of dance throughout her school, Doris became a notable and leading soloist whose impacts in the industry cannot be overlooked. Her experimentation in choreography during the 1920s evidenced energetic choreographic rhythms thus, she became a leading figure in the industry. Even though Doris had distinct impacts in the industry, her contribution concerning the ‘fall and recovery’ theory was outstanding. The paper traces Doris’ notable implications in the industry with a significant focus given to the theory of ‘fall and recovery’ and how such theory transformed the industry.

As briefed earlier, Doris Humphrey made diverse contributions to the music industry. One of the notable contributions related to the ‘fall and recovery’ theory, which played a critical role in shaping the American modern dance trend. The ‘fall and recovery’ theory/concept considered the technical principles which Doris associated with various impacts related to standing, walking, or even lying down. She reflected on the aspect of the transmission of knowledge and its essentiality towards forming a coherent whole during a performance (Main 85-107). Her discoveries and contributions evidenced that she focused more on making dance a more depiction and reflective of contemporary times. Doris utilized the pattern of breath in her advances towards developing the concept of ‘fall and recovery.’ She used such patter in her progress to inform about the movements. There were distinct that Doris utilized in developing the concept. First, Doris made an-depth reflection concerning the relationship between music and dance. Arguably, this was one of the most considered aspects characterizing her advances, discoveries, and contributions in the field. In her work, Doris prioritized the option of dance autonomy when dealing with the progress in the music industry.

The concept considered the analogy associated with human drives and abstract movement. Her work concerning dance and music integrated various concerns that shaped the idea of ‘fall and recovery.’ One of the primary concerns and reflections in the concept related to abstraction to express diverse aspects of the current. Secondly, the idea reflected on the essentiality of integrating various group designs and body movements whose utilization translates to the conveying of critical life themes, primarily associated with the current life events and occurrences. She emphasized the aspect of the relationship between the choreographer and dance (Kassing 191). The element of group action featured much in her development that led to the rise of the concept of ‘fall and recovery.’ Doris emphasized on the need to adopt a group action to facilitate the building of a community with minimal flaws. The work concerning the New Dance Trilogy was another essential consideration towards understanding her major arguments and depiction that led to the concept. It is worth appreciating that the aspect of collaborative choreography featured most in her idea.

The aspect of the trilogy was similarly an essential articulation under Doris’s significant reflections. The trilogy was considerate of the critical elements of modern life. Doris considered differentiated choreography of diverse theatrical styles when expressing particular concerns of contemporary life. The aspect of ‘brotherhood of man’ is another necessary consideration when analyzing the significant concepts that Doris wanted to put across. Such a point emphasized the need to allow various individuals to make their contribution in a group to enhance effectivity and perfection in reflecting on essential social, political, and economic matters in the current society. The abstraction of notation and the call to an end of the traditional mode featured most in her work (Pouillaude 247). Through satire, Doris emphasized on the need to appreciate each person’s place within a group when reflecting on the social and commercial life characterizing the contemporary society. Precisely, Doris’ argument and concept centered on the need for group participation in transforming the industry. Doris pointed out on the integral nature of choreography and dance. Her idea pointed out that choreography and dance were most significant that a single person’s contributions. As such, collaboration featured mush in her concept. Doris pointed out the need to adopt efforts evidencing collaborated choreography. This dictates the reasons why she accepted the participation of former dancers as one of the moves towards transforming the industry.

In summary, the paper reflects on the concept of ‘fall and recovery’ and the contribution made by Doris Humphrey as far as music and dance are concerned. Doris made notable contributions that shaped the industry. Arguably, her contribution led to the argument that she was one of the key figures whose work was essential in developing the progress of the sector, not only during her time but even in the subsequent years. The introduction of the principle of ‘fall and recovery’ was a notable and essential contribution to the industry. The principle reflected on diverse aspects such as lying down, standing and walking. Secondly, her work indicated on the significant correlation between music and dance. Doris emphasized on the need to adopt and maintain a participative approach when choreographing music and dance rather than the adoption of a single person’s contributions.

Works Cited

Kassing, Gayle. History of Dance, 2E. Human Kinetics, 2017.

Main, Lesley. “The Transmission–Translation–Transformation of Doris Humphrey’s Two Ecstatic Themes (1931).” Transmissions in Dance. Palgrave Macmillan, Cham, 2017. 85-107.

Pouillaude, Frédéric. Unworking Choreography: The Notion of the Work in Dance. Oxford University Press, 2017.