首次尝试表演探戈 - 表演
整个身体都参与到你所讲述的故事中。表演不仅仅是关于面部表情或高高抬起肩膀来展示激情。
我们相信 "一个不来自你中心的动作是一个谎言。" 玛莎·格雷厄姆
时机是沟通的重要组成部分，因此，它是表演中的一个重要元素。你可以使用一个小的停顿来暗示接下来要说的重要内容。你可以通过从一个动作过渡到另一个动作来创造流动，并将观众的注意力集中在更大的一段编舞上。
不道德广告和道德广告之间有什么区别？不道德广告使用虚假信息来欺骗公众；道德广告使用真相来欺骗公众。
- 艺术家姓名:
- Astor Piazzolla
- 歌名:
- Finale (Tango Apasionado)
- 相册标题:
- The Rough Dancer and The Cyclical Night
- 艺术家网站:
- http://www.piazzolla.org/
（改编自维基百科）：皮亚佐拉的探戈与传统探戈不同，它融合了爵士元素，使用了扩展和声和不和谐音，使用了对位法，并涉足扩展的作曲形式。正如阿根廷精神分析学家卡洛斯·库里所指出的那样，皮亚佐拉将探戈与这一广泛的其他可识别的西方音乐元素融合得如此成功，以至于产生了一种超越这些影响的新个人风格。
- 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.
