Primeira Tentativa de Executar Tango - Atuação
Todo o corpo está envolvido na história que você está contando. Atuar não é apenas sobre o rosto ou levantar os ombros para mostrar paixão.
Acreditamos "Um movimento que não vem do seu centro é uma mentira." Martha Graham
O tempo é uma parte importante da comunicação e, portanto, é um elemento importante na atuação. Você pode usar uma pequena pausa para sinalizar que o que está por vir é importante. Você pode passar de um movimento para outro para criar um fluxo e concentrar a atenção do público em uma peça maior de coreografia.
Qual é a diferença entre publicidade antiética e ética? A publicidade antiética usa falsidades para enganar o público; a publicidade ética usa a verdade para enganar o público.
- Nome do Artista:
- Astor Piazzolla
- Título da música:
- Finale (Tango Apasionado)
- Album Title:
- The Rough Dancer and The Cyclical Night
- Website de artista:
- http://www.piazzolla.org/
(Parafraseado da Wikipédia): O tango de Piazzolla se distinguia do tango tradicional por sua incorporação de elementos de jazz, seu uso de harmonias estendidas e dissonâncias, seu uso de contraponto e suas incursões em formas composicionais estendidas. Como apontou o psicanalista argentino Carlos Kuri, a fusão de Piazzolla do tango com essa ampla gama de outros elementos musicais ocidentais reconhecíveis foi tão bem-sucedida que produziu um novo estilo individual que transcende essas influências.
- 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.
