탱고 공연 첫 시도 - 연기
온몸이 당신이 이야기하고 있는 이야기와 관련되어 있습니다. 연기는 단순히 얼굴이나 어깨를 높이 들어 열정을 보여주는 것이 아닙니다.
우리는 믿습니다 "당신의 중심에서 나오지 않는 움직임은 거짓입니다." 마사 그레이엄
타이밍은 의사소통의 중요한 부분이며, 따라서 연기에서 중요한 요소입니다. 당신은 작은 일시 정지를 사용하여 다가오는 것이 중요하다는 것을 신호할 수 있습니다. 당신은 한 동작에서 다른 동작으로 이동하여 흐름을 만들고 관객의 주의를 더 큰 안무의 조각에 집중시킬 수 있습니다.
비윤리적 광고와 윤리적 광고의 차이점은 무엇입니까? 비윤리적 광고는 대중을 속이기 위해 거짓말을 사용합니다; 윤리적 광고는 대중을 속이기 위해 진실을 사용합니다.
- 아티스트 이름:
- Astor Piazzolla
- 노래 제목:
- Finale (Tango Apasionado)
- 앨범 제목:
- The Rough Dancer and The Cyclical Night
- 아티스트 웹 사이트:
- http://www.piazzolla.org/
(위키백과에서 발췌): 피아졸라의 탱고는 재즈 요소의 통합, 확장된 화음과 불협화음의 사용, 대위법의 사용, 확장된 작곡 형식으로의 진출로 전통적인 탱고와 구별되었습니다. 아르헨티나의 정신분석학자 카를로스 쿠리가 지적한 바와 같이, 피아졸라의 탱고와 이 광범위한 다른 인식 가능한 서양 음악 요소의 융합은 매우 성공적이어서 이러한 영향을 초월하는 새로운 개별 스타일을 만들어냈습니다.
- 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.
