(Translated by Google from original post emotion en baile)
SCENE IN THE ILLUSION
On stage almost everything is illusion and appearance. The walls are not stone, are cardboard, the knife is not steel, is paper, the fog is smoke machine, blood is tomato juice.
The stories or arguments can be taken from reality, but the way in which they develop the scene are different: many centuries can concentrate on a few seconds and a minute narrated in long hours. The actors, when they create their characters, impersonate others, even though that other than the actor himself. All this is well known.
When a dancer executes an exhibition, though not intended, also acts.His actions on stage charge a different intensity to those developed in social dancing.
At a certain level of development, the dancers manage to tell the music on which they are dancing. Some attributes of magicians, we do listen to issues that we had never noticed before: a sentence of violin, piano effects of a trawl bandoneon.
At another level, stimulated by music, by his partner, for the environment or their inner world, feel and transmitted to us various kinds of emotion.
The emotion of the dancers on stage
The dancers, often, is “thrilled” when they dance, but this does not always reach the observer. Because between “feel” and “communicate” is a distance that is not automatically resolved. Some achieve it easily, but others less so.
Another important issue concerns the planned emotion, or that you need to convey it so they ask the dance scene or indications of the director. That is, when it comes to “create for the occasion,” “act.”
One way to solve it is to use the “as if” or “to face.” It may seem easy to use, however several trends or genres very important and successful theatrical make this as its foundation. Of course, in these cases, “as if” or “make face” requires too much research and study.
Another way to solve it is to make the actor or dancer “lend” their own emotions to the characters.
METHODS
Nobody can be forced to feel such a thing. The emotion does not warn, but it appears to certain stimuli that reach us. Nobody can “get elated” by the fact intending. You can do “as if”, but not really euforizarse. On several occasions we have seen dancers strive in vain to smile because they heard that the pace milonga is “happy.” We have also seen faces of “I love you” or “I wish, but do not really. . Furthermore, it is difficult to feel love for each other while struggling to remember the choreography, balance on a lob or achieve extreme hip rotation. However, a complete artist must be able to solve it. Through certain exercises, routines, experiences, rituals or specific stimuli may invoke and express the emotion they need to stage.
The theater has come a long way to gain an understanding of mechanisms that facilitate the appearance of genuine emotion and there have been many contributions she has made in the field of dance.
We believe that the so-called method of physical actions, “is the closest to the needs of the dancer to recreate genuine emotion. This method has its origin on the method of “sensory memory” and in exercises supporting tactile sensations, images and provocative stimulus of movements.
These exercises and others, are what we implemented in the tango-theater workshops.