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| photo: lutin |
阿根廷探戈至少有二個基本的元素，其一是男人與女人的關係；其二是動作的創意表現。不論哪一種阿根廷探戈的Style，皆以這二個元素作為基礎的揉合。
舞台探戈較側重在視覺上展現出創意的動作，但它之所以也稱作探戈，還是要把男人與女人之間的動力考慮進去；至於Milonguero探戈，則較側重男與女的關係（一如阿根廷文化本身也很重視），但它之所以也稱作探戈，表示仍然有為數不少的探戈動作語彙在其中。沒有舞蹈動作的擁抱，就已經足够來表現男女之間的關係了。至於Nuevo探戈則是在強化探戈語彙的理解，藉以應用於創意的動作及自我的表現。但人們也會擔心它稀釋了男女互動的關係。
至於以開式擁抱，跳著記憶的招式，則較像是記憶式的探戈，它是許多人初學探戈的方式。創意只來自招式的發明者；開式擁抱則稀釋了男女關係的互動。若要再進一步強化學習者的探戈經驗，則要透過閉式擁抱的舞姿，作出即興的技巧。
Lutin後記：若以閉式擁抱姿，跳著記憶的招式，一陣子精熟之後，則可能需要進一步打碎原本串接好的招式，碎成更基本的小元素例如：各方向的旋轉、前進與後退、失衡或回到平衡、點、勾、踏等等，才能往更為全方位的、如爵士樂那般每次都是即席創作的道路走去。
原文如下：
Intensifying the Experience of Tango <11 May 2004 — Stephen Brown>
Argentine tango has at least two basic elements. One is the relationship between a man and a woman. The other is the expression of creativity in movement. All styles of Argentine tango are a mixture of these two elements—and probably other elements.
Fantasia tango places a greater emphasis on the visual expression of creativity in movement, but in remaining tango, fantasia at least acknowledges the relationship between a man and a woman. A recent modern dance performance that I saw reminded me how androgynous creative movement can be. In comparison, fantasia is about a relationship between a man and a woman—even if it is a stylized representation. Of course, for memorized routines, the creativity of movement is in the original choreography.
Milonguero-style tango places a strong emphasis on the relationship between a man and a woman, as does the culture of tango, but in remaining tango, milonguero-style tango still has a relatively large vocabulary for creative movement. An embrace without movement is enough to express the relationship between a man and a woman.
The nuevo approach to tango is to increase the understanding of the vocabulary for creative movement and self expression. As we might expect, some critics of the approach are concerned about the possibility that the nuevo approach dilutes the relationship aspects of tango.
What about dancing memorized figures in an open embrace? Although that is how many people start in Argentine tango, such an approach is more like a memory of tango. The use of memorized figures transfers the creativity to the person who originated the figures, and the distant embrace can dilute the relationship between the man and woman. Intensifying the experience of Argentine tango comes through developing improvisational skills and in closing the embrace.
文章出自：
https://www.tejastango.com/inside/inside_2004archive.html?fbclid=IwAR13gzr3dup17w6S_of8tgij8gJf8o6FyiMSztDbwX5V_XUqkgWCvslJrOY#0001
Intensifying the Experience of Tango <11 May 2004 — Stephen Brown>
Argentine tango has at least two basic elements. One is the relationship between a man and a woman. The other is the expression of creativity in movement. All styles of Argentine tango are a mixture of these two elements—and probably other elements.
Fantasia tango places a greater emphasis on the visual expression of creativity in movement, but in remaining tango, fantasia at least acknowledges the relationship between a man and a woman. A recent modern dance performance that I saw reminded me how androgynous creative movement can be. In comparison, fantasia is about a relationship between a man and a woman—even if it is a stylized representation. Of course, for memorized routines, the creativity of movement is in the original choreography.
Milonguero-style tango places a strong emphasis on the relationship between a man and a woman, as does the culture of tango, but in remaining tango, milonguero-style tango still has a relatively large vocabulary for creative movement. An embrace without movement is enough to express the relationship between a man and a woman.
The nuevo approach to tango is to increase the understanding of the vocabulary for creative movement and self expression. As we might expect, some critics of the approach are concerned about the possibility that the nuevo approach dilutes the relationship aspects of tango.
What about dancing memorized figures in an open embrace? Although that is how many people start in Argentine tango, such an approach is more like a memory of tango. The use of memorized figures transfers the creativity to the person who originated the figures, and the distant embrace can dilute the relationship between the man and woman. Intensifying the experience of Argentine tango comes through developing improvisational skills and in closing the embrace.
文章出自：
https://www.tejastango.com/inside/inside_2004archive.html?fbclid=IwAR13gzr3dup17w6S_of8tgij8gJf8o6FyiMSztDbwX5V_XUqkgWCvslJrOY#0001
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