Первая Попытка Исполнить Танго - Актёрское мастерство

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Всякое тело участвует в истории, которую вы рассказываете. Актёрское мастерство — это не только лицо или поднятие плеч, чтобы показать страсть.

Мы верим "Движение, которое не исходит из вашего центра, — это ложь." Марта Грэм

Темп — это важная часть общения и, следовательно, важный элемент в актёрском мастерстве. Вы можете использовать небольшую паузу, чтобы сигнализировать, что то, что будет дальше, важно. Вы можете переходить от одного движения к другому, чтобы создать поток и сосредоточить внимание аудитории на более крупном произведении хореографии.

В чем разница между неэтичной и этичной рекламой? Неэтичная реклама использует ложь, чтобы обмануть общественность; этичная реклама использует правду, чтобы обмануть общественность.

Имя исполнителя:
Astor Piazzolla
Название песни:
Finale (Tango Apasionado)
Название альбома:
The Rough Dancer and The Cyclical Night
Сайт исполнителя:
http://www.piazzolla.org/

(Перефразировано из Википедии): Танго Пьяццоллы отличалось от традиционного танго включением элементов джаза, использованием расширенных гармоний и диссонансов, использованием контрапункта и выходом на расширенные композиционные формы. Как отметил аргентинский психоаналитик Карлос Кури, слияние Пьяццоллы танго с этим широким спектром других узнаваемых западных музыкальных элементов было настолько успешным, что породило новый индивидуальный стиль, превосходящий эти влияния.

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.
Серии:
Первая Попытка Исполнить Танго
Теги:
Соединение, Техника, Выступление
Первая Попытка Исполнить Танго