華爾滋中的「五段跑步」（Five Runs in Vals）
我們現在越走越偏離原本的計畫了。
原先的安排，是要從最基礎的探戈原理開始，
逐步進入 milonguero 們更深層的秘密。
但我們早就跳過了那些基礎，
現在甚至要談一些相當困難的 華爾滋（vals）節奏變化。
不過，既然 momentum 已經起來了，就讓我們繼續吧。
請務必記得：
這一章關於節奏的說明，以及接下來要講的 enrosque（纏旋步），
都屬於非常進階的探戈內容。
只有極少數舞者真正能做得到。
若沒有紮實的基本功與對音樂的完整理解，
盲目模仿是浪費時間的。
這裡要放的是我最早拍攝的影片之一。
有一天下午，我和 Alej 在跳舞時提到：
「我想拍一段漂亮的 vals。」
她聽完就笑著說：
「你要 vals？好啊，那就給你 vals！」
說完，她立刻起身，請 Dany 播一段 vals tanda，
然後走向 Gerard Gellé，邀他一起上場，
讓我能拍下整支舞。
Gerard 呢，脾氣有點古怪。
他討厭鏡頭，也絕不喜歡在 milonga 裡打破傳統。
不過，他是我們很好的朋友。
他來自法國，Alej 曾在他家住過，也在歐洲和他共舞過。
儘管如此，當音樂響起的那一刻，
我還是有點懷疑他會不會真的走過來。
結果呢？鏡頭裡出現他——
一路邊抱怨邊走來！
到達 Alej 面前時，
他搖著頭、嘴裡嘀咕：「我真的不想跳啊。」
而 Alej 回他一句：
「抱歉，現在太遲了。你已經在這裡，我們得跳了。」
一開始的確有點生疏。
Gerard 有點心不在焉，
而 Alej 也已經超過一年沒跟別人跳。
他們需要重新調整彼此的節奏。
再加上——我的攝影技術慘不忍睹。
那時我剛開始拍探戈影片，
沒膽量在舞池裡移動鏡頭，
就這樣傻傻待在原地，錯過了他們多數的舞步。
結果這段影片被剪得零碎，
兩人都不是最佳狀態——
但我依然非常喜歡它。
事實上，
它是我最喜愛的探戈影片之一。
請欣賞這段影片：
Gerard Gellé、Alejandra Todaro，與 Francisco Canaro 的音樂——
三首經典華爾滋：
🎵 〈Corazón de Oro〉（金色的心）
🎵 〈Del Alma〉（出自靈魂）
🎵 〈Vibraciones del Alma〉（靈魂的振動）
三首靈魂之舞，
讓人感受到探戈華爾滋那份輕盈與深情並存的律動。
哇——那真是太精彩了。
這正是所謂的 「todo la carne en la parrilla」——
把所有的肉都放上烤架，
也就是：全情投入、毫無保留地跳。
不過我真的很討厭〈Desde el Alma〉在中間被切斷，
好想看到他們完整地跳完那一支舞。
真可惜。
原本我準備在這裡寫一大段關於 vals 的 compás（節奏），
還有「四段跑步（four-run）」與「七段跑步（seven-run）」
這些 corrida（短跑步）節奏變化的分析。
但——
在聽完這樣超越言語的音樂、
看完這樣的舞之後，
我覺得此刻不該拆解它。
讓我們把分析，留到下一次吧。
Five Runs" in Vals
We're getting farther and farther off the track. The plan was to move from basics to the more complex secrets of the milongueros, but we've already skipped over the fundamentals, and now we're heading off into some difficult vals cadences. But we're rolling, so let's stay with it. Please just keep in mind that these pages about cadence, and also the upcoming one about enrosques, are very advanced tango. Only a small percentage of dancers do them, and it's a waste of time to attempt any of them without very solid fundamentals and a complete understanding of the music.
****
Here comes one of my very first videos. One afternoon Alej and I were dancing, and I mentioned I'd like to get a good vals on film. So she said, you want vals, you got vals! Then she jumped up, asked Dany to put on a vals tanda, and went over and asked Gerard Gellé to dance with her so I could film it.
Now, Gerard can be grumpy. He doesn't like the camera, and he never ever likes to break traditions in a milonga. But he's also a pretty good friend of ours. He's from France, and Alej has stayed at his house there, and danced with him in Europe. But still, when the music started, I wondered for a minute if he was going to come over. Let's cut to the tape: Here he comes! Grumbling and complaining all the way! And when he reaches Alej, there's a funny moment where he shakes his head and tells her he just doesn't want to do it. You can see her answer him... "Sorry, It's too late", she says. "You're already here... now we have to dance."
The start is a little rough. Gerard is distracted, and Alej hasn't been dancing with anyone other than me for over a year. They need to readjust to each other, and it takes them awhile to warm up. Also, my camera work is pitiful. I was new at filming, and I was wasn't confident enough to run around the room with the camera—so I stayed in one spot, and missed most of their dancing. Anyway, the clip is all chopped up, and neither Alej or Gerard are at their best... but I think it's still good. In fact, it's one of my favorite pieces of film.
Here are Gerard Gellé, Alejandra Todaro, and Francisco Canaro—and three of the greatest valses ever written: Heart of Gold, From the Soul, and Vibrations of the Soul:
Wow that was good. That's what they mean by "todo la carne en la parrilla"... putting all the meat on the fire. I hate it when Desde el Alma cuts off in the middle, though. I would have really liked to see them finish that one. Sorry.
I had a long discussion about vals compás, and about "four run", and "seven run" corridas that I was going to put here—but somehow, after listening to that transcendent music and watching the dancing, it doesn't feel right to analyze it right now. Let's do it later.
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