關閉擁抱的簡介 - 走到無處可去

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(南希說)我把古典舞的方向帶到探戈。而且我喜歡探戈,因為它給了我一種表達自己的方式,現在我變老了,沒有古典舞蹈的條件。由於這個“探戈作為藝術”的方向,我非常不喜歡跳舞探戈在緊密的擁抱。我覺得它阻礙了我所知道的所有關於運動的探戈。在某些方面,這是真的。

關閉擁抱探戈真的是一些不同的東西。當然,很多人對這個問題有很多不同的答案:什麼是探戈?或什麼是探戈在密切擁抱(哪些人會說是真正做探戈的唯一方式)?但對我而言,這是兩個人之間更為內部的對話。這是關於身體靠近某人以及與他們分享潛在的非常情緒的時刻。當我和大衛一起跳舞,我喜歡它的共享。我喜歡它如何強調完美的音樂同步和完美的運動同步,我們有時實現。

當我與學生緊密的跳舞,他們可以隨身體一起移動,特別是和我一起走,我喜歡步行能感覺到多麼容易(好的,這很難,但最終也可以很容易)。我喜歡在自己的成就感到自豪,他們已經學會了足夠的東西,從本質上來說是非常困難的東西。

藝術家姓名:
Adriana Varela
歌名:
Uno
相冊標題:
Trottoirs De Buenos Aires

(維基百科):Adriana Varela被認為是最近時代的阿根廷主要探戈歌手之一,1991年開始出色的歌唱生涯。

00:30
And I'm wondering if right about now you're saying to yourself
00:33
"What are they doing?"
00:35
"Why did she cross?"
00:36
"It must be the hands on her back, he does this and then she knows"
00:40
Whispers in my ear
00:41
Yeah, *whispers*: "Cross, cross"
00:43
And really, what it is, is that in my...
00:48
I'm going to... For the leaders, if we zoom in, and you watch from the side, really what I do, is I say to her:
00:55
move a hair forward, a little bit to the left, and now move back. And then I shift her over her leg. It's that subtle.
01:05
It's very subtle, but it's really clear.
01:08
So one more time, from the side, as we're walking, wherever she is, just collected, just put her feet together
01:13
I'll shift her a hair forward, well the foot a hair forward, I shift her a hair to my left,
01:20
and then I take her back, so there's a small scene.
01:23
And then after she crosses I shift a little bit more to the left, to get her to shift weight over that foot.
01:28
And for the followers, you want to think that you are... Make your foot part of your body.
01:32
Instead if you're... If your body shifts forward, your foot shifts forward
01:37
If your body shifts back, your foot shifts back
01:40
He makes it sound easy, doesn't he?
01:42
Right, right
01:43
So, as a leader takes you just a hair forward, you move the leg a hair forward.
01:47
And if he takes you a hair inside, you move your foot a hair inside, and as he shifts you back, you move it back, and then he takes you just a hair over the foot.
01:55
So it's very subtle, and it's a very small movement.
01:58
And for the followers, you want your body very connected, and for the leaders, then, you want to think that this is all you need to do, that subtle.
02:06
So really, all I'm doing is I'm walking straight at her
02:13
and I stop anytime our feet are collected
02:16
And I take her tiny hair forward, a tiny hair to my left and a tiny hair back, and then I shift her to the leg by turning a little bit to my left.
02:24
And then we can go on.
02:26
I'd like you to do it at home, just to get sense for this
02:30
is, just very softly, leaders, I want you to just
02:33
follow your weight on your right foot, leaders, you're going to move just a hair backwards, te foot moves just a hair back, an then
02:38
a hair forward, it collapses, moving a hair forward, it goes forward. So I want you to have the sense, that you can control the foot.
02:46
You can move them a hair to your right, to her left, and foot goes that way, then you can make shapes,
02:52
and cross, and then shift her over the leg.
02:55
And so once you find that sense of the control of the leg, just separately
02:59
then later on, when you're on the body, you can do the same thing.
03:08
So you can try to learn this in a sort of easy and an isolated way. And main quest for the followers is the connection of the body.