Showing posts with label Dance. Show all posts
Showing posts with label Dance. Show all posts
Tuesday, August 28, 2012
Wednesday, July 11, 2012
Pina ( 2011 IMDb rated 7.6 )
Director: Wim Wenders
Writer: Wim Wenders (screenplay)
Pina Bausch Brought out our sadness, joy, beauty, fear , pain and loneliness, which seem so alive in the 3 D movie theater.
I like this documentary very much !!
Philippina "Pina" Bausch[1] (27 July 1940 – 30 June 2009) was a German performer of modern dance, choreographer and ballet director. With her unique style, a blend of movements, sounds and prominent stage sets, and with her elaborate cooperation with performers during the composition of a piece (a style now known as Tanztheater), she became a leading influence since the 1970s in the world of modern dance.[2]
Pina Bausch Brought out our sadness, joy, beauty, fear , pain and loneliness, which seem so alive in the 3 D movie theater.
I like this documentary very much !!
Philippina "Pina" Bausch[1] (27 July 1940 – 30 June 2009) was a German performer of modern dance, choreographer and ballet director. With her unique style, a blend of movements, sounds and prominent stage sets, and with her elaborate cooperation with performers during the composition of a piece (a style now known as Tanztheater), she became a leading influence since the 1970s in the world of modern dance.[2]
The film presents extracts from some of the most noted dance pieces by Pina Bausch in the Tanztheater ("dance theater") style of which Bausch was a leading exponent. The extracts are from four pieces: Le sacre du printemps (The Rite of Spring), Café Müller, Kontakthof, and Vollmond. These are complemented with interviews and further dance choreographies, which were shot in and around Wuppertal, Germany; the film includes scenes showing the Wuppertal Schwebebahn, an elevated railway, and some dances sequences take place inside its carriages.
In the first piece, Le sacre du printemps, (Frühlingsopfer, The Rite of Spring (1975)), the dancers of the Tanztheater Wuppertal, separated into male and female groups, move about a stage covered by a thick layer of peat.
The following section, Café Müller (1978), portrays a café Pina often visited when she was a child.[citation needed]
The next piece, Kontakthof, (Kontakt "contact" + Hof "court, courtyard", hence "contact court, courtyard of contact") was performed multiple times for Wenders' cameras, with groups of different generations: teenagers, middle-aged dancers, and dancers over 65 (Bausch had choreographed these three variants, as Kontakthof – Mit Teenagern ab 14 (2008), Kontakthof (1978), and Kontakthof – Mit Damen und Herren ab 65 (2000)). The film edits these performances into one, cutting between different performers to highlight their different abilities.
In the final piece, Vollmond, (2006) (Vollmond, "full moon") the stage is flooded. The scenery consists of one large rock and some chairs. At the end of the film, the actors face the audience on a small path with a brown coal mining region in the background to an open end.
Tuesday, March 27, 2012
愛不須理由 --- with Ravel's Bolero
當我們寫一個女人的生活時，肯定我們會放棄所須要的行動，
而用愛來代替，
詩人曾說，愛是女人的全部。。。。1
盡管現代女性捨命辯護，
那還未盛開含苞的粉紅玫瑰，
在香氣還未綻放前，便已凋謝得零零落落。。。
她說，她不要。。。
詩人說，春天撒播花瓣，
不是為了未來的果實，
而是為了這一剎那的妄想。。。2
妄想在虛幻世界中真實，
真真假假你我可曾知曉？
微風吹吻女人顫抖的花蕊，
只為了他緊密溫暖的擁抱，
愛不須要理由。。。
詩人說，那一剎那便是永恆。。。
有誰說今生來世永恆只是個童話？
如果愛是女人的全部，
那麼愛對男人，又有多重要呢？
也許比較他自己想像的重要許多。。。
1. Virginia Wolf
2. Tagore
而用愛來代替，
詩人曾說，愛是女人的全部。。。。1
盡管現代女性捨命辯護，
那還未盛開含苞的粉紅玫瑰，
在香氣還未綻放前，便已凋謝得零零落落。。。
她說，她不要。。。
詩人說，春天撒播花瓣，
不是為了未來的果實，
而是為了這一剎那的妄想。。。2
妄想在虛幻世界中真實，
真真假假你我可曾知曉？
微風吹吻女人顫抖的花蕊，
只為了他緊密溫暖的擁抱，
愛不須要理由。。。
詩人說，那一剎那便是永恆。。。
有誰說今生來世永恆只是個童話？
如果愛是女人的全部，
那麼愛對男人，又有多重要呢？
也許比較他自己想像的重要許多。。。
1. Virginia Wolf
2. Tagore
Saturday, August 15, 2009
When elegance wins over passion in Tango....
It is the most Elegant Argentine Tango I have ever seen, while the inner passion prevails the whole atmosphere!!
http://www.youtube.com/watch?v=-owa25JhB6Y
http://www.youtube.com/watch?v=-owa25JhB6Y
Saturday, June 13, 2009
El Cantor De Tango 2： 探戈歌手
讀完" 探戈歌手" ，彷彿目睹布宜諾斯艾利斯在一首首的探戈樂曲裡漫步起舞，長久以來的經濟政治困境在句句的悲嘆中纏綿。
她像是一個美麗卻憔悴，年過半百的風塵女子，走過文化的迷宮，走入過往的倫敦巴黎，歷經悲鳴鄙視戰爭的史詩。人們總在街頭擁吻跳舞歌唱，沒有時間的趕場，像個迷失的老靈魂，像個自以為永遠比別人懂事的少女，卻已是殘花敗柳....
她就是布宜諾斯艾利斯。讓好多世界來往的人們迷戀忘返，如此古老現代卻又毫不真實的與世界脫節.... 只因探戈讓她擁有撩人的魅力，有如古代文人流連青樓的吸引力。
"探戈歌手是個最好的演員，不是普通的演員，而是能認同別人情感的演員"，他們，如同布宜諾斯艾利斯，充滿了幻想，充滿了狂野，"失落抑鬱，充滿了傑磝不遜，隱藏了不曾勇於公諸於世的情感"！(p.159)
在樂句停頓間，我們屏氣聆聽著歌手的呼吸，撫摸著舞伴的脈搏，依偎著胸口與體溫，讓兩個不相識的靈魂在空中交會，卻在下一首樂曲中毫不相識....作者說，"這像是競技的性事，不參與內心情感"，與Argentina Tango"起源於妓院不謀而合". (p. 15)
"當我們撇見迷宮圖案時，往往產生錯覺，以為是繪製的線條賦予她形象, 事實上，剛好相反，形象存在於線條之間的空白處。" 傳奇人物 Evita，也只會在這樣謎樣的夢幻城市裡迷倒群雄，她無法在正史中找到適當的位置，卻是在這裡作一位自命不凡的精神領袖。
布宜諾斯艾利斯，她再也沒有巴黎的豔麗，倫敦的知性，米蘭的時尚，翡冷翠的藝術，馬德里的狂邁, 她擁有各個城市的一絲風華，在永遠神秘的面紗中隱藏，隱藏在一首首的探戈裡，淫浪，大膽，炙熱，無奈，風情萬種。
她像是一個美麗卻憔悴，年過半百的風塵女子，走過文化的迷宮，走入過往的倫敦巴黎，歷經悲鳴鄙視戰爭的史詩。人們總在街頭擁吻跳舞歌唱，沒有時間的趕場，像個迷失的老靈魂，像個自以為永遠比別人懂事的少女，卻已是殘花敗柳....
她就是布宜諾斯艾利斯。讓好多世界來往的人們迷戀忘返，如此古老現代卻又毫不真實的與世界脫節.... 只因探戈讓她擁有撩人的魅力，有如古代文人流連青樓的吸引力。
"探戈歌手是個最好的演員，不是普通的演員，而是能認同別人情感的演員"，他們，如同布宜諾斯艾利斯，充滿了幻想，充滿了狂野，"失落抑鬱，充滿了傑磝不遜，隱藏了不曾勇於公諸於世的情感"！(p.159)
在樂句停頓間，我們屏氣聆聽著歌手的呼吸，撫摸著舞伴的脈搏，依偎著胸口與體溫，讓兩個不相識的靈魂在空中交會，卻在下一首樂曲中毫不相識....作者說，"這像是競技的性事，不參與內心情感"，與Argentina Tango"起源於妓院不謀而合". (p. 15)
"當我們撇見迷宮圖案時，往往產生錯覺，以為是繪製的線條賦予她形象, 事實上，剛好相反，形象存在於線條之間的空白處。" 傳奇人物 Evita，也只會在這樣謎樣的夢幻城市裡迷倒群雄，她無法在正史中找到適當的位置，卻是在這裡作一位自命不凡的精神領袖。
布宜諾斯艾利斯，她再也沒有巴黎的豔麗，倫敦的知性，米蘭的時尚，翡冷翠的藝術，馬德里的狂邁, 她擁有各個城市的一絲風華，在永遠神秘的面紗中隱藏，隱藏在一首首的探戈裡，淫浪，大膽，炙熱，無奈，風情萬種。
El Cantor De Tango 1： 探戈歌手
"若布宜諾斯艾利斯是軀體，那麼探戈歌手就是靈魂，
或者一個是形，另一個是影，兩者相互依存，共赴生死布宜……諾斯艾利斯儼然一只記憶匣子，宛如一首深邃探戈，彷彿一則永恆神話，更像一座詭譎迷宮，...精彩絕倫的文學符碼、萎靡頹圮的孤寂氛圍、驕傲自負的民族性格..." Prologue on T. E. Martinez's Tango...
一種毫無理由的自大導致阿根廷的沒落, 卻也在筆者深邃的情愫裡找到歷史的軌跡! 探戈樂曲裡充滿了失戀，沮喪，慾望，熱烈，孤獨...像是找不到歸宿的身體在一首首的探戈樂曲裡相互依偎，一個個曾風華絕世卻孤寂落寞的靈魂在歌聲中頹廢宣洩。
Friday, April 10, 2009
Lantin Dance Performance
Breathtaking Rumba:
1http://www.youtube.com/watch?v=NpKGY-AZO5M&feature=related
2http://www.youtube.com/watch?v=H5hAPViU3pk&feature=related
Argentine Tango:
1http://www.youtube.com/watch?v=HG0Q530daGI&feature=related
2http://www.youtube.com/watch?v=bXhQNRsH3uc&feature=related
結論是，在技巧還沒熟練之前，十足的熱情與魅力，即使情感是渾然天成，也沒那麼容易呢.....
1http://www.youtube.com/watch?v=NpKGY-AZO5M&feature=related
2http://www.youtube.com/watch?v=H5hAPViU3pk&feature=related
Argentine Tango:
1http://www.youtube.com/watch?v=HG0Q530daGI&feature=related
2http://www.youtube.com/watch?v=bXhQNRsH3uc&feature=related
結論是，在技巧還沒熟練之前，十足的熱情與魅力，即使情感是渾然天成，也沒那麼容易呢.....
Tuesday, February 17, 2009
"I will die for you" from Romeo and Juliet
Music and Art Performance of "Romeo and Juliet":
1. Tchaikovsky: http://www.youtube.com/watch?v=yE34mKmizY8&feature=related
2. Violin Love theme: http://www.youtube.com/watch?v=dHyR4ZzA2R0&feature=related
3. Prokoviev Ballet: http://www.youtube.com/watch?v=ZB3sd2BAxys&NR=1
4. Belioz:
5. 1990 Skating: http://www.youtube.com/watch?v=pCAkTpc6xZE&feature=related
6. Leonado De Carprio's I will die for you: http://www.youtube.com/watch?v=9AlXffy8tO0
7. The Play: nothing good yet...
1. Tchaikovsky: http://www.youtube.com/watch?v=yE34mKmizY8&feature=related
2. Violin Love theme: http://www.youtube.com/watch?v=dHyR4ZzA2R0&feature=related
3. Prokoviev Ballet: http://www.youtube.com/watch?v=ZB3sd2BAxys&NR=1
4. Belioz:
5. 1990 Skating: http://www.youtube.com/watch?v=pCAkTpc6xZE&feature=related
6. Leonado De Carprio's I will die for you: http://www.youtube.com/watch?v=9AlXffy8tO0
7. The Play: nothing good yet...
Saturday, January 17, 2009
Dance 5: Techniques of all Arts...
1 Ballet Swan Lake: http://tw.youtube.com/watch?v=T_5WCZ-XvG4
2 Rumba Performance: http://de.youtube.com/watch?v=NpKGY-AZO5M&feature=related
3 Argentina Tango: .http://tw.youtube.com/watch?v=PQRP50_7iPc
與其他的藝術相同，在"藝術論"裏 ，托爾斯泰談一切藝術涵蓋了靈性之深度，與藝術家意念的傳達，談到作品的特殊性, 歷史性與原創性。也因為擁有這些必要條件，一場演奏，一場舞蹈，一幅畫作，一部小說，才能稱之藝術。在這兒，我們更深入的談音樂性的體會，旋律節奏與舞步的相容，舞者感性的心靈交流，情感豐富與收斂的詮釋。如何的渾然天成，如何的讓人感動而不造作？ 這一切，都必須在純熟的技巧中完成，因此，技巧的準備與訓練是個重要且先決的條件。 雖然社交的舞蹈不同於表演的舞蹈，不同的是它courting 的特質..., 理論上他的進化過程要自由與輕鬆些，因為目的不同。
to be continued...
2 Rumba Performance: http://de.youtube.com/watch?v=NpKGY-AZO5M&feature=related
3 Argentina Tango: .http://tw.youtube.com/watch?v=PQRP50_7iPc
與其他的藝術相同，在"藝術論"裏 ，托爾斯泰談一切藝術涵蓋了靈性之深度，與藝術家意念的傳達，談到作品的特殊性, 歷史性與原創性。也因為擁有這些必要條件，一場演奏，一場舞蹈，一幅畫作，一部小說，才能稱之藝術。在這兒，我們更深入的談音樂性的體會，旋律節奏與舞步的相容，舞者感性的心靈交流，情感豐富與收斂的詮釋。如何的渾然天成，如何的讓人感動而不造作？ 這一切，都必須在純熟的技巧中完成，因此，技巧的準備與訓練是個重要且先決的條件。 雖然社交的舞蹈不同於表演的舞蹈，不同的是它courting 的特質..., 理論上他的進化過程要自由與輕鬆些，因為目的不同。
to be continued...
Javier Rodriguez y Andrea Missé's Photos
Dance4: Argentina Tango Music in brief
From argentina-tango.com
1. 1920s and 1930s, Carlos Gardel: Tango soon began to gain popularity in Europe, beginning in France. Bandleaders like Roberto Firpo and Francisco Canaro dropped the flute and added a double bass in its place. Lyrics were still typically macho, blaming women for countless heartaches, and the dance moves were still sexual and aggressive.
2. Gardel's death was followed by a division into movements within tango. Evolutionists like Aníbal Troilo and Carlos di Sarli were opposed to traditionalists like Rodolfo Biagi and Juan D'Arienzo.
3. The "Golden Age" of tango music and dance is generally agreed to have been the period from about 1935 to 1952, roughly contemporaneous with the big band era in the United States.
Some of the many popular and influential orchestras included the orchestras of Juan D'Arienzo, Francisco Canaro, and Aníbal Troilo.
D'Arienzo was called the "Rey del compás" or "King of the beat" for the insistent, driving rhythm which can be heard on many of his recordings. "El flete" is an excellent example of D'Arienzo's approach.
Canaro's early milongas are generally the slowest and easiest to dance to; and for that reason, they are the most frequently played at tango dances (milongas); "Milonga Sentimental" is a classic example.
Di Sarli had a lush, grandiose sound, and emphasized strings and piano over the bandoneon, which is heard in "A la gran muñeca" and "Bahía Blanca" (the name of his home town).
Pugliese's first recordings were not too different from those of other dance orchestras, but he developed a complex, rich, and sometimes discordant sound, which is heard in his signature pieces, "Gallo ciego", "Emancipación", and "La yumba".
Astor Piazzolla stretched the classical harmony and counterpoint and moved the tango from the dance floor to the concert stage. His compositions tell us something of our contemporary life and dancing it relates much to modern dance.
1. 1920s and 1930s, Carlos Gardel: Tango soon began to gain popularity in Europe, beginning in France. Bandleaders like Roberto Firpo and Francisco Canaro dropped the flute and added a double bass in its place. Lyrics were still typically macho, blaming women for countless heartaches, and the dance moves were still sexual and aggressive.
2. Gardel's death was followed by a division into movements within tango. Evolutionists like Aníbal Troilo and Carlos di Sarli were opposed to traditionalists like Rodolfo Biagi and Juan D'Arienzo.
3. The "Golden Age" of tango music and dance is generally agreed to have been the period from about 1935 to 1952, roughly contemporaneous with the big band era in the United States.
Some of the many popular and influential orchestras included the orchestras of Juan D'Arienzo, Francisco Canaro, and Aníbal Troilo.
D'Arienzo was called the "Rey del compás" or "King of the beat" for the insistent, driving rhythm which can be heard on many of his recordings. "El flete" is an excellent example of D'Arienzo's approach.
Canaro's early milongas are generally the slowest and easiest to dance to; and for that reason, they are the most frequently played at tango dances (milongas); "Milonga Sentimental" is a classic example.
Di Sarli had a lush, grandiose sound, and emphasized strings and piano over the bandoneon, which is heard in "A la gran muñeca" and "Bahía Blanca" (the name of his home town).
Pugliese's first recordings were not too different from those of other dance orchestras, but he developed a complex, rich, and sometimes discordant sound, which is heard in his signature pieces, "Gallo ciego", "Emancipación", and "La yumba".
Astor Piazzolla stretched the classical harmony and counterpoint and moved the tango from the dance floor to the concert stage. His compositions tell us something of our contemporary life and dancing it relates much to modern dance.
Dance3: Argentina Tango, being "at the present"...
Because the nature of its "improvisational steps", we may experience the highly concentrated attention paid during the dance, as parallel to performing arts, music performance, yoga practices and athletic sports. One to create a master piece is when one truly loves what he is expressing and communicating. Tango is envisioned as an intuitive and non-verbal language, which bridges two souls together, completing the vacant part of another.
Striving to act and react, to lead and follow, moment by moment in tango could be a very transforming experience, as we never know what to expect in life from your partner, and so does the Argentine Improvisational Tango. Responding for the moment, and fully attending every change throughout the music, throughout the time being, have all essentialized the philosophy towards our understanding the context of the music and the understanding of our partner. It is similar to meditation, for it provides the secrete of concentration, being "at the present", while we observe the ups and downs in our lives. The only difference is that tango takes two partners to culminate the perfection at a very close relations in a very short moment, and the meditation in life expands much longer and more complex.
Through a simple signal, one partner's insight thought has to transmit to the other partner's mind, the full attention was paid and the physical sensation was magnified. As an old saying: there is no "wrong" steps in tango, but only "misunderstanding". Your hearing becomes broader, your feeling of touch becomes sensuous, your feeling of smell becomes acute and your physical body becomes highly alert, open, responsive, and yet relaxed.
However, can one tango beautifully with anyone? The question lays upon can you give your heart fully for that person for the time being? Can you also melt into the music, feel its passion, its sorrow, its longing, its pain, its humor, its rage, its curiosity, or its alluring? Can you?
Striving to act and react, to lead and follow, moment by moment in tango could be a very transforming experience, as we never know what to expect in life from your partner, and so does the Argentine Improvisational Tango. Responding for the moment, and fully attending every change throughout the music, throughout the time being, have all essentialized the philosophy towards our understanding the context of the music and the understanding of our partner. It is similar to meditation, for it provides the secrete of concentration, being "at the present", while we observe the ups and downs in our lives. The only difference is that tango takes two partners to culminate the perfection at a very close relations in a very short moment, and the meditation in life expands much longer and more complex.
Through a simple signal, one partner's insight thought has to transmit to the other partner's mind, the full attention was paid and the physical sensation was magnified. As an old saying: there is no "wrong" steps in tango, but only "misunderstanding". Your hearing becomes broader, your feeling of touch becomes sensuous, your feeling of smell becomes acute and your physical body becomes highly alert, open, responsive, and yet relaxed.
However, can one tango beautifully with anyone? The question lays upon can you give your heart fully for that person for the time being? Can you also melt into the music, feel its passion, its sorrow, its longing, its pain, its humor, its rage, its curiosity, or its alluring? Can you?
Dance2 : Argentina Tango, the initial "embrace" tells you everything
Historically, dance has created community bonds, served as a form of spiritual practice, provided physical exercise and stress relief, and, of course, taken on the important role of a "mating ritual". Dance has always been distinguished in two categories either in the court or in the country circles, as the close position was not yet recognized in 17th century, however. While close embrace creates the most direct and instinctive communication between two people, it serves the power of its social purpose .
Close position was first found in the Viennese Waltz, while subsequently from the past 100 years, the tango traditions of close embrace was slowly emerged into the court dance and the dance culture of nobility and middle/high social classes.
In recent years people have been experiencing a revival of social dances from around the world. This indicates a growing need for people to reconnect with each other, their communities, and themselves. Partner dance just might open the door to this reconnection, and the tango, one of its most distinguished representatives, could be the key. In Buenos Aires, Argentina, where the tango was born around 1850, they say that the initial "embrace" tells you everything before you even take the first step. Well, what exactly, you might ask, is this "everything" that can be learned in a mere instant of physical contact?
The tango sidesteps the notion of a "right way," but rather teaches us, above all else, to "improvise." He, the leader, then invents a step of his own to accompany her, she follows, and so on until the end of the song. This is why the tango appears so complex, and why the two partners' legs manage to intertwine in such a remarkable way. Herein lies the beauty, and the puzzle, of the tango. While dancers change partners often, and every dance is different, bringing its own surprises, challenges, and thrills. Do we take a step softly, or does it carry a sharp accent? Do we embrace our partner very tightly, or very gently? There is a sudden connection between you and your partner after the initial embrace, whether you like it or not... That demonstrates the telepathic communication without language and without distracting thoughts ...
Close position was first found in the Viennese Waltz, while subsequently from the past 100 years, the tango traditions of close embrace was slowly emerged into the court dance and the dance culture of nobility and middle/high social classes.
In recent years people have been experiencing a revival of social dances from around the world. This indicates a growing need for people to reconnect with each other, their communities, and themselves. Partner dance just might open the door to this reconnection, and the tango, one of its most distinguished representatives, could be the key. In Buenos Aires, Argentina, where the tango was born around 1850, they say that the initial "embrace" tells you everything before you even take the first step. Well, what exactly, you might ask, is this "everything" that can be learned in a mere instant of physical contact?
The tango sidesteps the notion of a "right way," but rather teaches us, above all else, to "improvise." He, the leader, then invents a step of his own to accompany her, she follows, and so on until the end of the song. This is why the tango appears so complex, and why the two partners' legs manage to intertwine in such a remarkable way. Herein lies the beauty, and the puzzle, of the tango. While dancers change partners often, and every dance is different, bringing its own surprises, challenges, and thrills. Do we take a step softly, or does it carry a sharp accent? Do we embrace our partner very tightly, or very gently? There is a sudden connection between you and your partner after the initial embrace, whether you like it or not... That demonstrates the telepathic communication without language and without distracting thoughts ...
Tuesday, December 9, 2008
Antony and Cleopatra
As devilish as platonic as she, I do love her so much...
Cleopatra:
"Give me my robe, put on my crown;
I have Immortal longings in me."
She would rather die in dignity by poisoned bite,
submerged in love, sinking in voluptuous passion,
without pearl tears, crystallized into drizzling ice...
Movie: http://tw.youtube.com/watch?v=HO4vYoWXG3U
Cleopatra:
"Give me my robe, put on my crown;
I have Immortal longings in me."
She would rather die in dignity by poisoned bite,
submerged in love, sinking in voluptuous passion,
without pearl tears, crystallized into drizzling ice...
Movie: http://tw.youtube.com/watch?v=HO4vYoWXG3U
Monday, November 24, 2008
Dance 1: Angentine Tango
To trust , as one, that is the top secret...
Argentine Tango is to lead and follow,
to step to & fro, to turn right & left,
to move together as one body.
To Tango is to trust, to pause,
to dance in a close embrace,
Articulating the unfolding of desire into passion.
1.http://tw.youtube.com/watch?v=PQRP50_7iPc
2.http://tw.youtube.com/watch?v=EP9SOxIFt4s
3.http://tw.youtube.com/watch?v=EoE2dhCZNhI&feature=related
Argentine Tango is to lead and follow,
to step to & fro, to turn right & left,
to move together as one body.
To Tango is to trust, to pause,
to dance in a close embrace,
Articulating the unfolding of desire into passion.
1.http://tw.youtube.com/watch?v=PQRP50_7iPc
2.http://tw.youtube.com/watch?v=EP9SOxIFt4s
3.http://tw.youtube.com/watch?v=EoE2dhCZNhI&feature=related
Thursday, October 9, 2008
Saturday, July 26, 2008
Flamenco, Spain....
Flamenco Dance :
http://tw.youtube.com/watch?v=kPhCIKFkfg4
他的書中提到: "有人說，Flamenco 表達的是愛情，但不是純情的少女的愛情，也不是痴情女子的愛，他表達的是對生命的痛苦，是ㄧ種飽經風霜之後的自信，是ㄧ種歷經世態炎涼之後的灑脫，是一種我的痛苦不再是哭給你看的驕傲，而是在你面前盡情的表現自己，不是羞澀，而是潑辣的。Flamenco 是看透了這個世界然後說: "好，我陪你玩"的姿態。"
在其他文化裡的舞蹈，盡是表現出曼妙誘人的身段，或是高貴優雅的姿態，那是ㄧ種引誘愛情的，純情的或痴情的表現，女人本身是娛樂的工具，與佛朗明哥舞，大不相同。Flamenco 女人做自信的自己，表達了對生命的悲涼與滄桑。
西班牙的文學，建築，藝術，音樂，舞蹈，來自四面八方，融合了羅馬，阿拉伯，西哥德人，法國人的文化。在政治上更是歷盡被佔領，黃金時期，內戰，帝國，共和，君主立憲的種種。反觀中國甚至縮小至台灣，在通往民主自由富庶之路，與西班牙類似，似乎這ㄧ切的流血戰爭與暴亂，在西班牙的這塊土地上更是有過之而不及。
民族國家的命運，就像佛朗明哥舞者，ㄧ切的深情與瀟灑盡在節奏與眼神當中，展露無疑...
她說: 好，我陪你玩!
http://tw.youtube.com/watch?v=kPhCIKFkfg4
他的書中提到: "有人說，Flamenco 表達的是愛情，但不是純情的少女的愛情，也不是痴情女子的愛，他表達的是對生命的痛苦，是ㄧ種飽經風霜之後的自信，是ㄧ種歷經世態炎涼之後的灑脫，是一種我的痛苦不再是哭給你看的驕傲，而是在你面前盡情的表現自己，不是羞澀，而是潑辣的。Flamenco 是看透了這個世界然後說: "好，我陪你玩"的姿態。"
在其他文化裡的舞蹈，盡是表現出曼妙誘人的身段，或是高貴優雅的姿態，那是ㄧ種引誘愛情的，純情的或痴情的表現，女人本身是娛樂的工具，與佛朗明哥舞，大不相同。Flamenco 女人做自信的自己，表達了對生命的悲涼與滄桑。
西班牙的文學，建築，藝術，音樂，舞蹈，來自四面八方，融合了羅馬，阿拉伯，西哥德人，法國人的文化。在政治上更是歷盡被佔領，黃金時期，內戰，帝國，共和，君主立憲的種種。反觀中國甚至縮小至台灣，在通往民主自由富庶之路，與西班牙類似，似乎這ㄧ切的流血戰爭與暴亂，在西班牙的這塊土地上更是有過之而不及。
民族國家的命運，就像佛朗明哥舞者，ㄧ切的深情與瀟灑盡在節奏與眼神當中，展露無疑...
她說: 好，我陪你玩!
Saturday, February 9, 2008
Dance at Night Club
Animal Print Night: Ziga Zaga 2008 
Let's have some drinks....
Whatever out there, screaming, tapping, flirting, we can always hear the bossom voice in our heart, naming soul searching...
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