Primeros pasos en la interpretación del tango - Estructura Coreográfica

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Este es un mundo de 8 segundos. Si lee literatura que fue escrita en el siglo XIX, las oraciones tienden a ser más largas y leídas de manera lenta. Los pensamientos toman tiempo para evolucionar y por lo general son más complicados. Si mira películas que fueron producidas hace 4 o 5 décadas atrás y toma el tiempo de los cortes, lo cual lo hemos hecho, el tiempo entre los cortes es más prolongado de lo que es hoy en día (hoy aproximadamente cambian cada 8 segundos).

  • Hoy en día, para retener a la audiencia necesita cambios rápidos en el tono, ritmo y estados de ánimo.
  • Los utilitarios pueden ayudar, pero entienda que la audiencia se acostumbrara muy rápidamente a los utilitarios.
  • Los cambios de nivel ayudan: tiene el aire, bailando de pie en contacto con el piso o estando muy cerca del piso.
  • Pero cualquier cosa que realice, necesita cambiar a algo que luzca radicalmente diferente mucho más pronto de aqullo que se sienta razonable.
Nombre del artista:
Astor Piazzolla
Título de la canción:
Adiós Nonino
Título del álbum:
RCA Victor 100 Años - Astor Piazzolla
Sitio Web del artista:
http://www.piazzolla.org

(Parafraseado de wikipedia): el tango de Piazzolla era distinto al tango tradicional en su incorporación de elementos de jazz, su uso de armonías y disonancias extendidas, su uso del contrapunto y sus incursiones en formas compositivas extensivas. Como el psicoanalista argentino Carlos Kuri ha señalado, la fusión del tango de Piazzolla con una amplia gama de elementos musicales occidentales reconocibles tuvo tanto éxito que se produjo un nuevo estilo individual que trascendió estas influencias.

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Now, as you think about choreographing to the music, the first thing...
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Sometimes, away from the music, but general choreographic structure, is that you want to create variety.
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So, for example, when a dance starts, I might have some dramatic introduction.
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Let me get a chair, to symbolize the woman.
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And, as that dramatic introduction happens,
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That'll eat up time. And it will be varied. And it will be interesting. You'll like, "How cool is that?"
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So, there's the woman in the chair.
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You walk up to her.
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You caress her hair. You're here. You rise.
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You know, so you have this beginning thing, which is very cool. And the audience looks, and is like, "Wow, how cool!"
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And then, after that, you kick the chair away.
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Whatever it is. And, then you start to dance.
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And, maybe you do lots of fancy cool steps, sacadas and enganches, enganches and boleo, blah-blah-blah-blah-blah.
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And the audience is, "Look, how cool is that!" We like that when the audience says that.
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And then, after that, well, you need something more to add drama.
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So, maybe, now you have some sort of big trick, where she's in the air. We had a few things about lifts.
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And then, after they're, like, drooling over your amazing lifts, then you add in some acting. And then you repeat.
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So, the point is, that you want to have a section, which is, maybe, 20 to 30 seconds, err on the side of low,
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For acting. Oh, sorry, for an introduction.
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And then, after your introduction, you want a section that's 20 to 30 seconds, that's really cool, for a different reason.
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So, instead of being sort of separate dramatic acting thing, sort of movement, you have cool tango steps.
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And then you have a section that's 20 to 30 seconds, that's really cool, but for a new reason.
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Maybe, this one's really cool because you have a great lift.
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You know, or a couple great lifts. And then, maybe you have another section, and that's really cool.
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You see the pattern, everything is really cool, but for different reasons.
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So, if I do the exact same thing for 45 seconds, even if it's really cool for the first 20 seconds,
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The last 20 seconds you'll be like, "I've had enough. Show me something new".
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So, when you're choreographing, it helps if you find music that is very varied. We'll have a chapter on that.
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And... Even if the music is not varied, you go away from the music, and then you come back.
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The music is going, "Ba-da-da-da-da"; you're doing, "Huh". You know, you sort of emote slow passion.
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And then, later on, you can go, "Ba-da-da-da-da". And, the audience's eye is refreshed.
Serie:
Primeros pasos en la interpretación del tango
Etiquetas:
Coreografía, Actuación
Soy nuevo al tango. ¿Dónde debo comenzar