The scope is similar to the first book, "to provide practical working knowledge for dancing Argentine Tango ON STAGE". Main target readers are the people who are interested in dancing Tango on stage for their special occasions such as wedding, anniversary (or any party or on street for fun or for show).
People who watch something and fantasize, and people who actually do it, often see and think entirely differently. This book should help providing what the doers see and how they think. That should lead to better appreciation of the art.
Much of the writing should be applicable to other partner dance on stage, like wedding waltz or swing/salsa/ballroom dance contest.
Following is a part of the manuscript-draft. I'll edit, refine, and add photos to the draft later. Then it will make a chapter. This entry is a bit of backstage preview.
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"Examples of Showy Stuff that you don’t (or cannot) use in regular milonga"
Stage Tango is highly adoptive dance and can accommodate various
elements. As long as “you keep it as Tango” (meaning, not overdoing in
incorporating exotic elements and using them only as spice), it should be fine.
There is a thin line between “acceptable” and “overdoing”, though, and you should
consider it. Whether you are overdoing it or not is eventually determined by
the knowledgeable viewers.
As Stage Tango is a different game from social/Salon Tango danced in milonga, you have an option to dismiss some rules in milonga. Not all Stage Tango moves should strictly follow rules in milonga. For example, you can disregard the line of dance rule when only one couple is present on stage.
As Stage Tango is a different game from social/Salon Tango danced in milonga, you have an option to dismiss some rules in milonga. Not all Stage Tango moves should strictly follow rules in milonga. For example, you can disregard the line of dance rule when only one couple is present on stage.
Also, as of 2015, even in a contest setting, Tango judging
is rather unstructured and subjective, and restrictions (what you can and
cannot do) are not as finely defined as in some of other dances in contest
situation. Numbers of lifts or drops are not limited by contest rules for
example, and in most cases your imagination is the limit in creating your stage
dance.
Hope these examples help you to widen imagination in your own Tango choreography or to appreciate the art of Stage Tango by recognizing the
elements.
Elements as a stage art
Acting and storytelling
Use of historical reference
Use of historical reference
Use of narration, projected subtitle, short film insertion
Use of props, costumes, backgrounds and stage lighting
Music alteration and editing
Use of a live band/orchestra with or without a singer
Group dance and group choreography/formation
Stage modification (e.g. use of limited space [dancing on a
chair or a table])
Beautifully done basic moves throughout the dance (very important)
Three-dimensional moves
Lifts (e.g. simple [toss-up]-lift, rotational lift,
hook-lift, stand-up lift)
[Definition of a Lift in the Dance Sport Rule Book: “any movement during which one of the athletes has both feet off the floor at the same time with the assistance of their partner and either both feet are higher than knee level or are off the floor for more than two beats of music.”]
[Definition of a Lift in the Dance Sport Rule Book: “any movement during which one of the athletes has both feet off the floor at the same time with the assistance of their partner and either both feet are higher than knee level or are off the floor for more than two beats of music.”]
Leans (e.g. straight lean, side-by-side lean)
Dips
Drops
Advanced Tango moves
Expanded leg use (simple Kicks, complex kicks combined with
other elements, leg entanglements, leg wrap)
Elaborate embellishments and styling
Complex Sacadas
Various Spins (roll-in roll-out, multiple spins-straight,
multiple spins-rotational, multiple spins-in place)
Alternative frames and positioning (e.g. shadow position)
Alternative (non-embrace) arm connection (e.g. hemlock, one-arm,
no-arm)
Dance speed manipulation (e.g. quick moves and slow moves, dramatic picture pauses)
Use of unusual physical characteristics (e.g. extreme
flexibility)
Use of dance elements from other dances (occasionally
used in progressive Tango)
From Ballet, contemporary
From other partner dances (e.g. ballroom, salsa, swing,
zouk, bachata, kizomba, contact-flow)
From gymnastics, cheer-leading, circus-style aerial “Tango”
Note: There are dances that merge well with Tango, and there
are dances that don’t. Mixing American Tango with the (Argentine) Tango can
lead to an identity crisis of the dance and confusing presentation. Hip Hop has
very little in common with Tango. Tread with caution in incorporating other
dance elements.
Unconventional coupling
male-male, female-female, child-child, differently-sized, different
ages, etc
Lead-follow swapping during the dance
Trio, tandem
partner swapping among 2+ couples
"Dramatic picture pause"
