Primeros pasos en la interpretación del tango - ¿Por qué ellos se ven bien y nosotros no?

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Es notable como claras intenciones influencian la experiencia tanto de guiar/seguir y otras experiencias de que tan maravilloso luce como bailarín. Cuando decimos clara intención, nos referimos a dos cosas:

1. Ya ha decidido que paso va a dar
2. Su cuero sabe exactamente como realizar dicho paso.

En un pueblo cercano, hay una pegatina para el paragolpes que es muy común que dice: “Recen por mí, conduzco por Apache Trail” y a lo que se refiere es a la incidencia de las personas en esta ciudad que realmente no saben lo que van a hacer (cuando manejan) hasta que se encuentran haciéndolo. Comenzaran en una dirección particular y luego, a mitad de camino, tendrán una idea diferente y giraran de repente y luego volverán a cambiar ese giro de modo que pareciera que sus autos están paseando.

Lucir como si estuviera paseando en la pista de baile no es algo muy óptimo y lo mismo sucede al realizar cada paso.

Si va hacer un paso al costado, sepa qué es lo que motiva la extensión de la pierna hacia afuera, como va a transferir su peso y como se detendrá cuando el movimiento finalice.
Elija un movimiento simple y piense en cada pequeño elemento que lo conforma.
Cuando da un paso al costado, ¿Siente sus pantorrillas, espalda baja, trasero? ¿Siente esos músculos involucrándose en el movimiento? ¿Lo siente en algún lugar de sus piernas?, la dirección que está tomando ¿Esta bien definida?
¿Su mente dice “voy a dar un paso al costado” pero cuando mira sus pies se encuentra que esta desviado 10 grados?
“Si no sabes a dónde vas, es posible que llegues a cualquier lugar”- Yogi Berra
• ¿Cómo puede el abrazo influir al dar un paso al costado? ¿Puede sentirlo en la espalda y brazos?

Nombre del artista:: Astor Piazzolla
Título de la canción:: Finale (Tango Apasionado)
Título del álbum:: The Rough Dancer and The Cyclical Night
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.

00:05: Now, this is, actually, a chapter that I've been looking forward to.
00:08: And that's because, not that we're nuts about performing, although we like it, but, rather, that
00:13: When you talk about good performers, that becomes sort of very purely about great dance and great technique.
00:19: Because the difference between "Meh" and "Wow" is not what they do, actually. It's how they do it. Right? It's all this technique.
00:28: So, what we're going to do is have a case study. We have a little bit of choreography.
00:32: And, originally, I was going to have Malakai and Jessica do this badly,
00:35: And then we'd evolve it, until it was incredibly wonderful, so you could see the difference.
00:39: But they couldn't do it badly enough. They can only do it well.
00:42: So, I'm going to do it badly, and they're going to do it well, and then you'll see the evolution.
00:46: Come in, come in.
00:50: And so, I'll be, I guess, the leader first. And I'm going to be a bad leader, and you can watch how that changes.
00:56: So, here's the bad leader. Back up, back up.
00:59: So, we're here. And this isn't real bad, I'm going to try not to exaggerate. It's hard not to exaggerate.
01:27: And a lot of people looking at that, would say, "What's wrong with that? That looked perfectly nice."
01:30: And, maybe, it looked perfectly nice, but the point is it wasn't smashingly magnificent.
01:35: So, if we do the same thing... And I'm just going to pause, at the beginning, I just walked in.
01:42: Which is not particularly useful. It doesn't have presence, or activity in your body.
01:47: So, instead, you make your body alive. You grow like 4 inches, depending on how much you slump.
01:54: You go to your partner. The air becomes thick, and you take a step.
02:02: Jessica is like, "Wow, David, that was a big step!"
02:05: And it's a very different effect. Right? You step side, and on this lunge, instead of doing this,
02:11: Which is mini me. I'm letting my butt go back. I'm letting my head jut forward. I'm invading her space.
02:16: Instead, we're long and tall.
02:20: And I keep my spine vertical, and I go into the lunge. And it's much better.
02:24: Instead of being here, when I take her back, it wraps around, and I stay to her.
02:30: Right? In the wrap, instead of just being here, which is sort of "Blah",
02:36: Do the wrap again.
02:39: It's here. Which is very active.
02:44: Right, so there's this idea, that I want you to lengthen your body in all directions.
02:48: I want you to... Have your core be this fiery engine that emanates out to your extremities. And then you move.
02:58: And, likewise, it's true not just for leaders, but for ladies too.
03:01: So, if I'm the follower, poor Malakai now, this is what you might do, right?
03:08: And he's beautiful, and I'm, "Eh, OK". But we want more than OK.
03:20: And, literally, people do it like this.
03:28: And he was doing it really well, and I was doing it really badly.
03:32: So, let's take that first step. Once again, I want you to emanate in all directions. You take this first step towards each other.
03:44: You see a lot of energy there. On this lunge, you'll notice that I keep the body very vertical, before I let my butt tilt back.
03:51: I really point with a toe, before I let it flex. But really notice the energy and the verticality in the body.
03:57: Even when he turns me, I'm keeping that line of the body.
04:02: As he pulls me up, with abs in, I let that relate to the lift of the leg.
04:09: Thank you, very nice.
04:11: So, if you watch the good. Give it a go, guys.
04:47: So, we'll end with this thought: when you think about performing, it's not about what you do.
04:53: Because you can do anything, and it will look bad. And you can do anything, and it will look good.
04:57: Right? So it's about looking good and bad. Or bad. And we choose good.
05:02: Instead of, "Oh, I can do all this cool stuff".
05:04: I mean, we want you to learn the cool stuff too. And there are lots of chapters on cool stuff.
05:08: But, right now, this chapter is about the idea that you elongate the body, you energize.
05:13: You sort of make the energy that comes from your core, emanate, like an engine, outwards.
05:18: You stay towards your partner. You keep this going.
05:21: And, if the body alignment is right, then... And texture's thick, we'll also have a chapter about that.
05:26: Then it makes the performance work. And otherwise, who cares what you do it.

Serie:: Primeros pasos en la interpretación del tango
Etiquetas:: Técnica, Actuación

Primeros pasos en la interpretación del tango - ¿Por qué ellos se ven bien y nosotros no?

Soy nuevo al tango. ¿Dónde debo comenzar