Primo Tentativo di Eseguire il Tango - Recitazione

Il corpo intero è coinvolto nella storia che stai raccontando. Recitare non riguarda solo il viso o alzare le spalle per mostrare passione.

Crediamo "Un movimento che non proviene dal tuo centro è una bugia." Martha Graham

Il tempismo è una parte importante della comunicazione e, quindi, è un elemento importante nell'interpretazione. Puoi usare una piccola pausa per segnalare che ciò che sta per arrivare è importante. Puoi passare da un movimento all'altro per creare un flusso e concentrare l'attenzione del pubblico su un pezzo più grande di coreografia.

Qual è la differenza tra pubblicità non etica ed etica? La pubblicità non etica usa falsità per ingannare il pubblico; la pubblicità etica usa la verità per ingannare il pubblico.

Nome dell'artista:: Astor Piazzolla
Titolo Canzone:: Finale (Tango Apasionado)
Titolo album:: The Rough Dancer and The Cyclical Night
Sito web dell'artista:: http://www.piazzolla.org/

(Parafrasato da Wikipedia): Il tango di Piazzolla si distingueva dal tango tradizionale per la sua incorporazione di elementi jazz, il suo uso di armonie estese e dissonanze, il suo uso del contrappunto e le sue incursioni in forme compositive estese. Come ha sottolineato lo psicoanalista argentino Carlos Kuri, la fusione di Piazzolla del tango con questa vasta gamma di altri elementi musicali occidentali riconoscibili è stata così riuscita da produrre un nuovo stile individuale che trascende queste influenze.

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.

Serie:: Primo Tentativo di Eseguire il Tango
tag:: Connessione, Tecnica, Performance