टेंगो प्रदर्शन करने में पहले दर्रा - अभिनय

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पूरे शरीर उस कहानी में शामिल है जिसे आप कह रहे हैं अभिनय केवल चेहरे के बारे में नहीं है या जुनून को दिखाने के लिए आपके कंधों को ऊपर उठाने में अधिक है।

हमारा मानना ​​है कि "एक आंदोलन जो आपके केंद्र से नहीं आया है वह एक झूठ है।" मार्था ग्राहम

समय संचार का एक हिस्सा है और इसलिए, यह अभिनय में एक महत्वपूर्ण तत्व है। आप यह संकेत देने के लिए एक छोटे विराम का उपयोग कर सकते हैं कि आने वाला क्या महत्वपूर्ण है। आप प्रवाह को सृजन करने के लिए एक आंदोलन से दूसरे स्थान पर चलते हैं और दर्शकों का ध्यान कोरियोग्राफी के एक बड़े टुकड़े पर केंद्रित कर सकते हैं।

अनैतिक और नैतिक विज्ञापन के बीच क्या अंतर है? अनैतिक विज्ञापन जनता को धोखा देने के लिए झूठ का उपयोग करता है; नैतिक विज्ञापन जनता को धोखा देने के लिए सच्चाई का उपयोग करता है

कलाकार का नाम:
Astor Piazzolla
गीत शीर्षक:
Finale (Tango Apasionado)
एल्बम शीर्षक:
The Rough Dancer and The Cyclical Night
कलाकार वेबसाइट:
http://www.piazzolla.org/

(विकिपीडिया से पाराभाषित): पियाजामो का टैंगो जाज के तत्वों के संयोजन में पारंपरिक टैंगो से अलग था, विस्तारित संगतता और विसंगति का उपयोग, काउंटरपॉइंट का उपयोग, और इसके उपक्रमों को विस्तारित रचनात्मक रूपों में शामिल किया गया था। जैसा कि अर्जेंटीना के मनोविश्लेषक कार्लोस कुरी ने बताया है, पियाजाउला के अन्य मान्यताप्राप्त पश्चिमी संगीत तत्वों के इस व्यापक श्रेणी के साथ टैंगो का फ्यूजन इतना सफल था कि इन प्रभावों से परे एक नई व्यक्तिगत शैली का निर्माण किया।

00:18
And the question is, "How did they do that?"
00:20
Right, you look at them and you're like, "Man, they've got so much chemistry. It's so passionate!"
00:24
Well, maybe they do have chemistry. Maybe it is passionate. But there's also technique.
00:27
Thank you both. So, on that note.
00:32
First thing, is there's an instinct not to face your partner.
00:36
And, if you want to have sort of all this acting and passion, you want to be to your partner.
00:42
So, you saw they went straight to each other. It was powerful.
00:45
If you see the wrong... So, one wrong is you do too big. Just do it to each other, do it a little bit too fast and a little bit too big.
00:52
Just here. Actually, do a lot too big, just so they can see.
00:58
Right, and the truth is, you see all this movement, but it's not really to each other.
01:02
Oh, OK, they're good. So it's still to each other. They only half-did wrong, it's OK.
01:06
But still, all that movement made it less profound, because that made it more about the movement, and less about this.
01:13
Second thing is speed. So, if they're here, I'm doing oh, mad passion.
01:21
Then she's like, "Oh, mad passion?"
01:24
So, instead, you want to take your time going forward. As they just did.
01:29
Next thing, I want to talk about quality of touch. So, if you embrace right here...
01:35
If there's just a soft embrace, that shows to some extent.
01:41
Because this is about acting, so, this is a performing track. Right, for an audience, you want that...
01:45
If what you're doing is about chemistry, if you want that to show, then you actually have to show in your touch.
01:49
So, when he holds her, you see much more activity in the body and the hand.
01:54
Actually, let's move you a little bit this way, just so they can see.
01:58
Little more, little more, little more, little more, right there.
02:02
So, if you see, in his left arm, his left hand,...
02:05
Let's put it higher, so they can see in the camera... Right there, if he's there... Just stand still.
02:09
So, because of the facing, you can see alot of chemistry.
02:12
However, if you just look at the hands, you wouldn't say anything was happening.
02:16
But if you add a tiny bit of movement or of pressure...
02:21
Then it looks like more is happening. Well, more is happening. It's not more looks like more is happening.
02:26
And so, if I talk about just different things, you can be here, or you can be... here.
02:33
Or, you can be, very softly, like a flicker, "Ah", there.
02:39
And they're all beautiful places, but they're very deliberate, careful places.
02:43
Thank you.
02:45
Next thing. As we're doing about acting.
02:49
In some sense, I want you to think that it's about being uninhibited.
02:53
So, there's an instinct, I said it in a different chapter, I think,
02:57
To... To break, to give.
03:01
Right, so the same way we might say, you give in your center, when you do a step. "Oh, there's this wonderful step", and then you give.
03:06
You can do the same thing, when you're acting. We can be acting up mad passion, and as I... "Oh my God, he's a guy."
03:13
And then I go up to her. "Oh my God, I can't do this." And it's somehow, something is lost.
03:19
But what happens is you don't do that like that. What happens is you do it by giving.
03:24
Oh, mad passion, oh, mad passion, oh, I better make this less, less mad. And then, all of a sudden, it all drops away.
03:32
So, if you guys start moderately far away. Let's start there. Now, that's good.
03:38
And you, very slowly, engage the body, very alive, and you slowly walk towards each other.
03:44
If you do that... When you try this at home, there'll be an instinct, right before that, to break, and to start looking away, or to start giving.
03:52
And so, if you're going to perform, you don't want to give... No, keep going, keep going.
03:55
You don't want to give, you want to keep going towards each other and towards each other. It almost never ends.
03:59
And then you go on. And then they see it.
04:02
So, do this with conviction. And do it from a place of realness.
04:06
Right, it's not something you put on. It's something from inside.
शृंखला:
टेंगो प्रदर्शन करने में पहले दर्रा
टैग:
संबंध, तकनीक, प्रदर्शन
मैं प्रदर्शन करना चाहता हूं और मुझे कुछ टैंगो पता है