執行探戈的第一通 - 舞蹈結構
它真的是一個8秒的世界。如果你閱讀了在19世紀寫的文學，這些句子往往會更長，他們閱讀速度更慢。思想需要時間來發展，而且經常更加複雜。如果你觀看4或5 0年前製作的好電影，而且你們削減時間是我們所做的，那麼削減之間的時間一直比今天更長一些（他們每天大概每8秒變化一次）。
- 今天，為了聽眾，你真的需要非常快速地改變音調，時機，心情。
- 道具可以幫助，但要了解觀眾會很快習慣道具。
- 水平的變化有助於：你有空氣，跳舞站在地板上，或者非常靠近地板。
- 但是，無論你在做什麼，你都需要轉變成一種比看似明智的那樣快得多的東西。
- 藝術家姓名:
- Astor Piazzolla
- 歌名:
- Adiós Nonino
- 相冊標題:
- RCA Victor 100 Años - Astor Piazzolla
- 藝術家網站:
- http://www.piazzolla.org
（從維基百科釋義）：皮亞佐拉的探戈與傳統探戈不同，它融合了爵士樂元素，使用擴展的和聲和不和諧，使用對立點，並將其作為擴展的組合形式。正如阿根廷精神分析師卡洛斯·庫裡（Carlos Kuri）所指出的那樣，皮亞佐拉的探戈與眾多其他可辨認的西方音樂元素的結合是非常成功的，它產生了超越這些影響的新的個人風格。
- 00:05
- Now, as you think about choreographing to the music, the first thing...
- 00:08
- 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.
- 02:12
- 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.
