Percobaan Pertama Menampilkan Tango - Akting
Seluruh tubuh terlibat dalam cerita yang Anda ceritakan. Berakting bukan hanya tentang wajah atau mengangkat bahu tinggi-tinggi untuk menunjukkan hasrat.
Kami percaya "Gerakan yang tidak berasal dari pusat Anda adalah kebohongan." Martha Graham
Waktu adalah bagian penting dari komunikasi dan, oleh karena itu, merupakan elemen penting dalam berakting. Anda dapat menggunakan jeda kecil untuk menandakan bahwa apa yang akan datang itu penting. Anda dapat bergerak dari satu gerakan ke gerakan lain untuk menciptakan aliran dan memusatkan perhatian penonton pada bagian koreografi yang lebih besar.
Apa perbedaan antara iklan tidak etis dan etis? Iklan tidak etis menggunakan kebohongan untuk menipu publik; iklan etis menggunakan kebenaran untuk menipu publik.
- Nama artis:
- Astor Piazzolla
- Judul lagu:
- Finale (Tango Apasionado)
- Judul album:
- The Rough Dancer and The Cyclical Night
- Situs artis:
- http://www.piazzolla.org/
(Dikutip dari Wikipedia): Tango Piazzolla berbeda dari tango tradisional dalam penggabungan elemen jazz, penggunaan harmoni dan disonansi yang diperluas, penggunaan kontrapung, dan petualangannya ke dalam bentuk komposisi yang diperluas. Seperti yang telah ditunjukkan oleh psikoanalis Argentina Carlos Kuri, penggabungan tango Piazzolla dengan berbagai elemen musik Barat yang dapat dikenali ini sangat berhasil sehingga menghasilkan gaya individu baru yang melampaui pengaruh-pengaruh ini.
- 00:18
- And the question is, "How did they do that?"
- 00:20
- Right, you look at them and you're like, "Man, they've got so much chemistry. It's so passionate!"
- 00:24
- Well, maybe they do have chemistry. Maybe it is passionate. But there's also technique.
- 00:27
- Thank you both. So, on that note.
- 00:32
- First thing, is there's an instinct not to face your partner.
- 00:36
- And, if you want to have sort of all this acting and passion, you want to be to your partner.
- 00:42
- So, you saw they went straight to each other. It was powerful.
- 00:45
- If you see the wrong... So, one wrong is you do too big. Just do it to each other, do it a little bit too fast and a little bit too big.
- 00:52
- Just here. Actually, do a lot too big, just so they can see.
- 00:58
- Right, and the truth is, you see all this movement, but it's not really to each other.
- 01:02
- Oh, OK, they're good. So it's still to each other. They only half-did wrong, it's OK.
- 01:06
- But still, all that movement made it less profound, because that made it more about the movement, and less about this.
- 01:13
- Second thing is speed. So, if they're here, I'm doing oh, mad passion.
- 01:21
- Then she's like, "Oh, mad passion?"
- 01:24
- So, instead, you want to take your time going forward. As they just did.
- 01:29
- Next thing, I want to talk about quality of touch. So, if you embrace right here...
- 01:35
- If there's just a soft embrace, that shows to some extent.
- 01:41
- Because this is about acting, so, this is a performing track. Right, for an audience, you want that...
- 01:45
- If what you're doing is about chemistry, if you want that to show, then you actually have to show in your touch.
- 01:49
- So, when he holds her, you see much more activity in the body and the hand.
- 01:54
- Actually, let's move you a little bit this way, just so they can see.
- 01:58
- Little more, little more, little more, little more, right there.
- 02:02
- So, if you see, in his left arm, his left hand,...
- 02:05
- Let's put it higher, so they can see in the camera... Right there, if he's there... Just stand still.
- 02:09
- So, because of the facing, you can see alot of chemistry.
- 02:12
- However, if you just look at the hands, you wouldn't say anything was happening.
- 02:16
- But if you add a tiny bit of movement or of pressure...
- 02:21
- Then it looks like more is happening. Well, more is happening. It's not more looks like more is happening.
- 02:26
- And so, if I talk about just different things, you can be here, or you can be... here.
- 02:33
- Or, you can be, very softly, like a flicker, "Ah", there.
- 02:39
- And they're all beautiful places, but they're very deliberate, careful places.
- 02:43
- Thank you.
- 02:45
- Next thing. As we're doing about acting.
- 02:49
- In some sense, I want you to think that it's about being uninhibited.
- 02:53
- So, there's an instinct, I said it in a different chapter, I think,
- 02:57
- To... To break, to give.
- 03:01
- Right, so the same way we might say, you give in your center, when you do a step. "Oh, there's this wonderful step", and then you give.
- 03:06
- You can do the same thing, when you're acting. We can be acting up mad passion, and as I... "Oh my God, he's a guy."
- 03:13
- And then I go up to her. "Oh my God, I can't do this." And it's somehow, something is lost.
- 03:19
- But what happens is you don't do that like that. What happens is you do it by giving.
- 03:24
- Oh, mad passion, oh, mad passion, oh, I better make this less, less mad. And then, all of a sudden, it all drops away.
- 03:32
- So, if you guys start moderately far away. Let's start there. Now, that's good.
- 03:38
- And you, very slowly, engage the body, very alive, and you slowly walk towards each other.
- 03:44
- If you do that... When you try this at home, there'll be an instinct, right before that, to break, and to start looking away, or to start giving.
- 03:52
- And so, if you're going to perform, you don't want to give... No, keep going, keep going.
- 03:55
- You don't want to give, you want to keep going towards each other and towards each other. It almost never ends.
- 03:59
- And then you go on. And then they see it.
- 04:02
- So, do this with conviction. And do it from a place of realness.
- 04:06
- Right, it's not something you put on. It's something from inside.
