可能性を働かせる - タンゴの可能性:ルック

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あなたが本当にクールで本当に楽しいより深刻なものとして起こることの1つは、あなたがダンスで他の人生の分野に学んでいることの適用性を理解し始めることです。場合によっては、この動画のように、実際には明示的です。それとも、時には、より良いパブリックスピーカーになり、あなたの体を使って聴衆に影響を与えたり、より愛情深くなる方法を学んだりすることです。時間の経過とともに、それはあなたの人生をどのように(明白な方法で、また微妙な素晴らしい方法で)生きるかに影響を与えます。

可能性

アーティスト名:
Zully Goldfarb
曲名:
A Shpilgueton
アルバムタイトル:
De Donde Viene Mi Voz
アーティストウェブサイト:
http://www.zully.com.ar/

複雑なタンゴは、スペイン語とイディッシュ語の両方で素晴らしい真正性で歌われています。

アーティストのウェブサイトから1枚のアルバムについて:ドイツのキャバレーからブエノスアイレスタンゴの会場までのピュアンアンサンスの物語を伝え、タンゴと交差する運命の歴史、誤解、愛情、そしてアルゼンチン人であることを忘れる。

00:05
This is the tango look.
00:12
Well, not really.
00:13
Eh, it could be.
00:15
The idea is to take anything that you do, and then make it look tango.
00:20
Nancy: So what would that be?
David: So, for example, let's take
00:24
An example we had before, just being silly, where we had her bicycle.
00:28
And then I'd bicycle.
00:30
Why are you calling that silly? I think it's very serious.
00:33
I love you.
00:34
But if I do it like this, then, you know,
00:35
She goes, I go, she goes...
00:39
That's, eh, OK.
00:41
But in the upper body - nothing special is happening, so...
00:46
So, we do the same thing, but notice first our hips come very subtly towards each other.
00:51
And then, as I lead her, in my upper body I'm towards her, and she's towards me.
00:55
So, in the face, there's this look.
01:00
It's this slight angling towards.
01:02
So, it's a slight angling towards, I'm not here in his face, into his eyes,
01:05
I'm trying to get into his face, but not quite succeeding.
01:09
And I realize, I forgot,
01:11
I was going to give an example of lead from our previous exploring.
01:15
So, I'll say that in this chapter, and it can be an extension of the earlier chapter.
01:19
So, when I'm leading her to do that bicycle,
01:21
Right here, I'm saying to her:
01:24
"Come in, up, over".
01:25
So, if you watch this hand, it goes in, up, over, in, up, over.
01:32
David: So, it was led, actually, this time.
Nancy: It was.
01:35
It was, I didn't really know what he wanted me to do in the beginning.
01:38
And it can be any direction, this look.
01:40
So, I could be facing away from her, right? So we could be here,
01:44
Give me your hand too, just in case.
01:46
So we could be here, and then you'll see my upper body, my upper back goes back to her.
01:51
So, even though the face is away, I say, "Oh".
01:54
Instead of saying, "Oh".
01:56
Here, I'm just away.
01:58
Here, I'm away, but about her.
02:03
So, wherever you are, I want you to think,
02:05
That it's not that you're just away, it's that you're - away.