樣品編排 - 第4部分 - 代理
- 藝術家姓名:
- Mandragora Tango
- 歌名:
- Adios Nonino
- 相冊標題:
- Let's Have Dinner And Go Dancing
- 藝術家網站:
- http://www.mandragoratango.com
從網站：MandrágoraTango是由Bandoneonist Bob Barnes和吉他手Scott Mateo Davies率領的探戈樂隊，他是兩位對探戈狂熱的明尼阿波利斯音樂家。自2001年以來，我們一直在跳舞和聽音樂，我們仍然堅強。我們在美國的40多個城市玩過。
- 00:04
- So, taking my glasses off, so you can feel the passion.
- 00:08
- Oh my. And here, the music begins to slow.
- 00:12
- We ended: left leg forward, right leg back. Here.
- 00:16
- So, our bodies were long and tall. We start... No, not yet. We start here.
- 00:22
- And I'll come towards her, and she arcs towards me. And we have this moment with our faces.
- 00:28
- Then, from here, I'm... She's shifting, as I go down.
- 00:37
- I hold her tight, "Oh".
- 00:40
- And then, here, I go lower, so I can come underneath, and help her up.
- 00:46
- She rotates her body a little bit. So that, when I come up, you can see me, here, and and see her, here.
- 00:55
- Showing each of the parts, so they're clear. I'm the girl, right now.
- 01:04
- So, it's come down. When the guy comes here, ladies, you look... Watch the arch in the upper back.
- 01:14
- And there's this sense of the "frontalness" of your faces meeting.
- 01:20
- As he comes down, you hold in, up. And you're going to slide the other leg back.
- 01:28
- Hard to see under her dress.
- 01:31
- And as the ladies are doing that, sliding their other leg back... Guys, you're here, and you're going down... To meet them.
- 01:40
- You have this moment here, close. And then, when I said under? Watch what I do. I go... lower.
- 01:47
- So, I rolled over my right shin. And in my upper body, I actually curled underneath, a little bit.
- 01:52
- There's this sense of under, so I can help her up.
- 01:56
- Because, remember - the ladies are here, and they're stuck.
- 02:03
- Other thoughts.
- 02:07
- When we look in the face... Here, let's go to this camera.
- 02:10
- When I look at her in the face, most of tango is here. Where we're not really looking at each other.
- 02:16
- So, this moment, where it becomes all of the way - it's a very dramatic moment.
- 02:24
- Right? So you go, "Oh!" They actually looked at each other.
- 02:28
- Now, after that... When you hold each other, I want you to see that the holding has some "meat" to it.
- 02:34
- So, if I hold her like this, "Oh, hi Jessica",
- 02:39
- There's no "meat".
- 02:41
- So, I want you to see... Actually, let's see if you can see. My hand isn't here, my hand is...
- 02:47
- See how the body actually engages, and pulls in? So, this is just, "I'm on the surface", and this is...
- 02:55
- I'm really pulling in.
- 02:57
- So, when you're going down on the floor, that's what I want you to think about - pulling in.
- 03:03
- After she stands up, and he's to her... What an unusual thing. But I like it, for the variety.
- 03:08
- And it's still about the acting. As you're down here, remember still leans forward, but hay.
- 03:14
- Watch how... So, there's this space, so her right leg is forward, for the line. And my body is going into that space.
- 03:21
- My head is going into the space. And we're not just here. We hold.
- 03:27
- And, even in my face. Even in my face, I want a little bit of... This sense of, "Oh, something's happening".
- 03:38
- Oh, actually lets show it one more time. And then, we'll put it to an end.
- 03:42
- So, you're here; down, da-da-da-da; du-du-du. So, we end up here.
- 03:48
- And then, guys, you're going to look at each other. Faces. Then, it shifts.
- 04:01
- Then here, you hold close. And I want to see the flesh give as you pull in. Then, it goes underneath.
- 04:15
- I adjust. Pulls in again.
- 04:19
- And then, you pop up.
