4 hs.
tango elemental is made for people who stays in BA just for a few days.
It offers a specific couching in order to be able and prepared to live the singular Tango Experience.
It's made for groups of 2 up to 6 people.
It offers a specific couching in order to be able and prepared to live the singular Tango Experience.
It's made for groups of 2 up to 6 people.
intro
8 hs.
I the beginning, we need to develope any idea about some basic principles. This criterion must be versatile, since they are the compass leading us to take the right decision about our next step.
Introduction to Tango was made for teenagers and adults with or without Tango or any dance experience. Anyway, this workshop is succesfully usefur for dancers with up to 3 years of Tango experience or different dances.
Contents
System of contact.
Proactivity. Absence.
Depth. Geometry of the Tango Couple.
drawing together / internal - external - emergent
After understanding the system of contact and comunication, is very useful articulate it from pre -dedigned figures. Many figures comes from the traditional use, and others are created by teacher and students together, in order to resolve technical issues.
Contents
level 1
level 2
Analisys
impro / the body involved
6 to 8 hs.
Impro/the body involved was made in order to articulate the technical skills in real time, allowing the access to the creative freedom that Tango Danza offers.
Contents
Proactivity in woman role.
Calm, silence, detention.
Textures.
Space depth.
Tango within different sound and musical contexts.
labyrynth/walking inside eachother
6 to 8 hs. Each Tango student, professional or amateur knows about that particular way of Tango walking.
The methods to explain this particular way turned capricious and erratic, very focused in the detail, but without understanding the "what for" of the Tango Walking Together.
That Tango Walking Together borns with the mechanical needing of comunication inside the couple and the exploration of posibilities in the space outside the couple, and exeeds the stethic issue.
With 4 classes, the students can acquire the tools that they need for their technical developement.
Coaching / tango for actor and stage combat
More than 10 years of experience in Aikido and Tango Dancing and teaching allows me to create combat and Tango coreographies and make it look versatile and realistic.
The couching method that I use is hard and soft enough for an actor, also for a dancer (for example, a well known knife fight in a Tango show).The idea to develope this coaching system comes from the needing to create something internal, since i can note when a scene is non realistic to me because it was created from the visual experience, and not from the experience itself.
Mostly, it happens with Tango. Usually, people copy what they see, but what happens inside the couple is totally different.
About Aikido, well, I am a pacific person, so I don't fight. But I can figure out what is the most natural reaction in a fighting situation.
The only idea to communicate the inner experience of dancing is exciting to me.
A few examples:
You are an actor, and you need to perform a Tango Dancing scene (just you haven't any idea about Tango Dancing). Together, we will create something in the middle of "the ideal Tango Dancing" and the ability of your character, taking it from the composition of the character, his psichology, etc:
How long is he dancing?
Is he absolutely relaxed?
How much affroid is he in order to approach a woman and embrace her?
Wich parts of his body are mentally blocked?
We will ask those questions to ourselves, and resolve it in a natural way, making you able to take your Actor decissions.
You are an actor, and need to coreograph a fight. But you don't want some "karate" in there, just make it looks realistic.
How much knowledge have your character about fighting?
Is he agressive? Is he scared? Stronger than his opponent, or week?
He feels angst, tension?
There is when my assistance appears.
