- 藝術家姓名:
- Osvaldo Pugliese
- 歌名:
- A Orlando Goñi
- 相冊標題:
- Osvaldo Pugliese - 40 Obras Fundamentales
- 藝術家網站:
- http://en.wikipedia.org/wiki/Osvaldo_Pugliese
（維基百科）：他發展了戲劇性的安排，保留了沙龍探戈的步行節奏的強大元素，但也預示著音樂風格的探戈音樂的發展。他的一些音樂，主要是自五十年代以來，用於戲劇舞蹈表演。在布宜諾斯艾利斯，派格雷斯經常在晚上播放，當舞者想要跳舞更慢，印象深刻，密切。
- 00:05
- So, we're going to break down two embellishments. And we're going to do them in great detail.
- 00:09
- So, at least with these two, you'll have some detailed instructions.
- 00:15
- And they are, one for front ocho, one for back ocho.
- 00:27
- And here, back ocho.
- 00:33
- So, for the front ocho, for the ladies, as you do this,
- 00:36
- The first thing that you want to think about is making sure that you kick the leg up,
- 00:41
- And then bring it down, while you're facing away, before you turn.
- 00:45
- N: Well, that's the second thing.
D: What's the first thing?
N: The first thing is that the leg needs to come up from the hip.
- 00:53
- D: OK, so, as we do this,
N: He's the girl.
D: OK, I'm the girl.
- 00:57
- Let's go this way, actually.
- 01:00
- We go. I bring it up. I bring it in. I bring it down. And then, it pivots.
- 01:10
- With the leg, at the beginning, if you look at the side view,
- 01:13
- I step forward. It goes up. I bend the knee.
- 01:18
- And that lets you go higher, right? So, the leg straight only goes so high.
- 01:21
- But, you bend the knee, it lets it come higher. You beat it in. And when you beat it in, you keep it tight to yourself.
- 01:28
- D: And then, you pivot.
N: So, you want the knee to cross over the other leg, as much as it will.
- 01:33
- So, we have: go that way. Kick up, bang. Bend the knee. Let it come down along your own leg.
- 01:40
- N: And then you pivot.
D: And then you pivot.
- 01:42
- And notice, that, during the pivot, I kept the feet in this configuration here.
- 01:47
- So, after I cross over... The foot's crossed over. I pivot, while it's crossed over. And then, go out.
- 01:55
- N: That's really beautiful, when it goes fast. Do it fast.
D: So, if we do it more smoothly...
- 02:08
- It's especially really beautiful, when you do it.
- 02:12
- So, there's that.
- 02:13
- N: The ochos?
D: And, with the ochos, with the back ochos,
N: Back ochos.
- 02:22
- So, it's your hips, that are making the... Your foot just, kind of, falls in there, and then your hips make it bounce.
- 02:27
- Right. So, I'm not pulling my foot in, as much as I'm turning my hips.
- 02:31
- And the knee bends, and the foot beats in by itself.
- 02:33
- And then, as the hips continue to pivot, it beats out again.
- 02:37
- Right. So, it's all about the rotation of the hips.
- 02:40
- Drawing the thighs tight, bang. When my calf hits my shin, as I turn - bang, it bounces out, escapes. And then, you go on.
- 02:48
- N: And when it escapes, it escapes very tight.
D: Yes.
N: So, show that.
- 03:03
- And, in general, as you do all these embellishments, or use tango style...
- 03:10
- Overall, I want you to think about the tightness of the thighs.
- 03:14
- So, you'll see, as we do all of these different kinds of embellishments, and, in fact, all of our movement,
- 03:18
- We always have the thighs tight, the calves tight, the feet tight.
