Primeira passagem pelo Performing Tango - Estrutura coreográfica

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É realmente um mundo 8 segundo. Se você ler literatura escrita no século 19, as frases tendem a ser mais longos e lêem mais lento. Os pensamentos levam tempo para evoluir e são freqüentemente mais complicada. Se você assistir grandes filmes que foram produzidos 4 ou 5 décadas atrás, e você cronometrar os cortes, o que nós temos feito, o tempo entre cortes é consistentemente mais tempo do que é hoje (eles mudam hoje aproximadamente a cada 8 segundos).

  • Hoje, para realizar uma audiência, você realmente precisa de mudanças muito rápidas de tom, de calendário, de humor.
  • Props pode ajudar, mas entendo que o público vai se acostumar com os adereços muito rapidamente.
  • As alterações dos níveis de ajuda: você tem o ar, dançando de pé no chão, ou estar muito perto do chão.
  • Mas, o que você está fazendo, você precisa mudar para algo que se sente radicalmente diferente muito antes do que parece sensata.
Nome do Artista:
Astor Piazzolla
Título da música:
Adiós Nonino
Album Title:
RCA Victor 100 Años - Astor Piazzolla
Website de artista:
http://www.piazzolla.org

(Parafraseado de wikipedia): tango de Piazzolla era distinto do tango tradicional na sua incorporação de elementos de jazz, a sua utilização de harmonias e dissonâncias estendidos, seu uso do contraponto, e seus empreendimentos em formas de composição estendidos. Como psicanalista argentino Carlos Kuri apontou, fusão do tango com esta vasta gama de outros elementos ocidentais reconhecíveis musicais de Piazzolla foi tão bem sucedida que produziu um novo estilo individual que transcende essas influências.

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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.
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.
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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.
Série:
Primeira passagem pelo Performing Tango
Etiquetas:
Coreografia, atuação
Eu quero realizar e eu sei que alguns tango