First Pass in der Performing Tango - Choreografische Struktur
Es ist wirklich eine 8 Sekunden Welt. Wenn Sie Literatur im 19. Jahrhundert geschrieben zu lesen, neigen die Sätze um mehr sein, und sie langsamer zu lesen. Die Gedanken, die Zeit nehmen, sich weiterentwickeln und sind häufig gewunden. Wenn Sie schauen großartige Filme, die vor 4 oder 5 Jahren produziert wurden, und Sie können die Schnitte, die wir getan hatten Zeit wird die Zeit zwischen den Schnitten durchweg mehr als heute (heute ändern, etwa alle 8 Sekunden).
- Heute, ein Publikum zu halten, die Sie wirklich brauchen sehr schnellen Veränderungen des Tons, des Timings, der Stimmung.
- Props können helfen, aber zu verstehen, dass das Publikum an den Stützen sehr schnell gewöhnen.
- Änderungen von Ebenen zu helfen: Sie haben die Luft, tanzen auf dem Boden stehend, oder sehr nahe an den Boden.
- Aber, was auch immer du tust, musst du auf etwas, das früher als sinnvoll erscheint radikal anders fühlt sich viel ändern.
- Künstlername:
- Astor Piazzolla
- Liedtitel:
- Adiós Nonino
- Albumtitel:
- RCA Victor 100 Años - Astor Piazzolla
- Künstler Website:
- http://www.piazzolla.org
(Paraphrasiert von wikipedia): Piazzollas Tango war verschieden von der traditionellen Tango in seinem Einbau von Elementen des Jazz, die Nutzung von erweiterten Harmonien und Dissonanzen, seine Verwendung des Kontrapunkts, und seine Unternehmungen zu erweiterten Kompositionsformen. Als argentinischer Psychoanalytiker Carlos Kuri hat darauf hingewiesen, Piazzollas Fusion von Tango mit dieser Vielzahl weiterer erkennbarer westliche Musikelemente war so erfolgreich, dass es einen neuen, individuellen Stil transzendiert diese Einflüsse produziert.
- 00:05
- Now, as you think about choreographing to the music, the first thing...
- 00:08
- Sometimes, away from the music, but general choreographic structure, is that you want to create variety.
- 00:15
- So, for example, when a dance starts, I might have some dramatic introduction.
- 00:21
- Let me get a chair, to symbolize the woman.
- 00:23
- And, as that dramatic introduction happens,
- 00:27
- That'll eat up time. And it will be varied. And it will be interesting. You'll like, "How cool is that?"
- 00:33
- So, there's the woman in the chair.
- 00:37
- You walk up to her.
- 00:43
- You caress her hair. You're here. You rise.
- 00:50
- You know, so you have this beginning thing, which is very cool. And the audience looks, and is like, "Wow, how cool!"
- 00:55
- And then, after that, you kick the chair away.
- 00:59
- Whatever it is. And, then you start to dance.
- 01:04
- And, maybe you do lots of fancy cool steps, sacadas and enganches, enganches and boleo, blah-blah-blah-blah-blah.
- 01:12
- And the audience is, "Look, how cool is that!" We like that when the audience says that.
- 01:16
- And then, after that, well, you need something more to add drama.
- 01:21
- So, maybe, now you have some sort of big trick, where she's in the air. We had a few things about lifts.
- 01:28
- And then, after they're, like, drooling over your amazing lifts, then you add in some acting. And then you repeat.
- 01:36
- So, the point is, that you want to have a section, which is, maybe, 20 to 30 seconds, err on the side of low,
- 01:43
- For acting. Oh, sorry, for an introduction.
- 01:47
- And then, after your introduction, you want a section that's 20 to 30 seconds, that's really cool, for a different reason.
- 01:52
- So, instead of being sort of separate dramatic acting thing, sort of movement, you have cool tango steps.
- 01:59
- And then you have a section that's 20 to 30 seconds, that's really cool, but for a new reason.
- 02:03
- Maybe, this one's really cool because you have a great lift.
- 02:07
- You know, or a couple great lifts. And then, maybe you have another section, and that's really cool.
- 02:12
- You see the pattern, everything is really cool, but for different reasons.
- 02:14
- So, if I do the exact same thing for 45 seconds, even if it's really cool for the first 20 seconds,
- 02:21
- The last 20 seconds you'll be like, "I've had enough. Show me something new".
- 02:26
- So, when you're choreographing, it helps if you find music that is very varied. We'll have a chapter on that.
- 02:30
- And... Even if the music is not varied, you go away from the music, and then you come back.
- 02:35
- The music is going, "Ba-da-da-da-da"; you're doing, "Huh". You know, you sort of emote slow passion.
- 02:43
- And then, later on, you can go, "Ba-da-da-da-da". And, the audience's eye is refreshed.