Chapter 5, p.12 訓練眼睛 （續）Training the Eye (Continued)

Training the Eye 訓練眼睛
(Continued)

我們要記得，這段舞並不一定是為了「取悅觀眾」而跳的（雖然對我來說它很美），
而且 Alej 和 Pocho 也不是在試圖「示範」什麼。
他們只是一起隨著音樂而行——
或者，更準確地說，是**隨著音樂的 entrega（投入、交付）**而流動。

我們想做的，是往內看。
試著「看見」與一位真正的 milonguero 共舞時的感覺。
我們想理解 Alej 所說的那句話——
「Milonguero 是用整個身體去感受音樂的。」

在這支影片中，Pocho 其實只用了三、四種探戈的基本變化，
但他用得恰到好處，時機也剛剛好。

這裡有個觀察的小技巧：
影片裡可以看到其他舞者在舞池上的腳和腿。
他們並不差，但還沒到 Pocho 的層次。
在這短短的片段裡，Pocho 會停頓、等待音樂的起伏，
而背景中那些舞者的腳，
卻常有一種焦躁、不安的動作——那其實不在音樂裡。

如果你多看幾次，並開始留意他們的動作與 Pocho 的對比，
你會發現：
他們的舞開始像是背景的「雜訊」，
而 Pocho 的動作則像是在音樂中呼吸。

我把這點指出給 Alej 看，她看了一會兒，笑著說：
「沒錯！其他人只是——隨便在跳而已。」

不只是 Pocho 在等待，而其他人忙著移動；
反過來也成立。
看看影片中滑桿移到兩個箭頭之間的那一段（0:36～0:50）——
那是 Pocho 的 corridita（小跑步）。

一開始，他和 Alej 先停頓。
接著 Pocho 向右邁出一步。
當 bandoneón（班多鈕手風琴）發出更強烈、更急促的聲音時，
Pocho 順著那股力量前進。
可以很明顯地感受到，他和 Alej 都知道接下來的音樂要發生什麼，
而且他們的回應恰到好處——
Pocho 在兩個最強烈的手風琴重音上，
踏出有力而爆發的步伐，
然後放慢節奏，去「標記」樂句結尾那幾個快速的音符。

你也可以注意到，當 Pocho 向右踏步、準備進入 corrida 時，
Alej 的右腿優雅地從身後掃出，
那一瞬間的動作多麼美！
此時，她完全與 Pocho 的音樂合一，
並用那個長而延伸的後退步，
去支撐他的小跑動作。
就像前一頁提到他們在 cross（交叉步）時的那一絲遲疑一樣，
這裡展現出他們在音樂詮釋上的幾乎完美的默契。

重點是——
Pocho 不只是該等的時候會等，
該動的時候也會動。
只要把他與 Alej 在這段 corridita 的流動感
和背景中其他舞者比較，
你就會發現：
多數人還在「做動作」，
而音樂已經流過他們身邊。
他們錯過了那個時刻，
因為他們沒有與音樂連結。
若你聽不見音樂，你就無法真正地跳舞。

看久了之後，我開始覺得——
整個舞池裡，好像只有 Pocho 和 Alej 真正在跳舞，
其他人只是練習步伐。

這段影片對所有探戈舞者都有一個巨大的啟示：

1️⃣ 了解音樂（Know the music）
2️⃣ 傾聽音樂（Listen to the music）
3️⃣ 隨音樂而動（Move to the music）

讓我們再來看看 Pocho，
這次是他在 2003 年 與 Nelly 共舞的表演。

這支影片幾乎可以說是你所能看到的最精彩的 milonga traspie（錯步米隆加） 示範之一。
把這兩支影片放在一起看，就能明白為什麼 Pocho 會受到那麼多尊敬。

像所有出色的表演者一樣，他懂得如何與觀眾溝通——
而這場的觀眾，顯然是內行人。
我重看了幾遍之後，甚至開始享受觀眾的反應，幾乎跟舞蹈本身一樣多。

仔細聽影片尾端那一段，
當 Pocho 和 Nelly 做出漂亮的 雙重 giro 加 traspie 時，
有人在背景大喊一聲：「Eeypaaa——！」
這是一種非常「布宜諾斯艾利斯味」的驚嘆語，
在場所有人都懂（甚至我們 16 個月大的 Martina 都學會這句話了）。

Pocho 懂得如何在 milonga 舞會 的地板上跳探戈，
也懂得如何在舞台上用探戈娛樂觀眾。
這讓他成為這世界上極少數能同時駕馭兩種探戈世界的人之一。

關於 Nelly：
她的腳真是太棒了！
同時具有輕盈與力量。
看看她如何踏入地板，
又如何用細微的 traspie 來呼應 Pocho 的引導。

關於 音樂：
第一支影片的音樂是〈Corazón, No le Hagas Caso〉，
由 Caló／Berón 演奏與演唱，
內容是一個男人對自己心說話，
試著說服自己走出失去女人的痛。
那是一首極美的探戈——
但我認為，第二支影片的 milonga 才是真正屬於 Pocho 的音樂。

原文:

We should remember that this dancing is not necessarily meant to be aesthetically pleasing (although it is to me), and that Alej and Pocho aren't trying to demonstrate anything. They are simply riding the music together… or maybe riding the entrega of the music. What we want to do is to take a look inside. We're trying to "see" what it feels like to dance with a good milonguero. We want to understand what Alej means when she says that milongueros “feel the music with their whole body”.

In this video, Pocho is only using three or four variations of the basic elements of tango—but he uses them in exactly the right way, and at just the right time. Here's something that may help: In the video you can see the feet and legs of some of the other people on the floor. They’re not bad dancers, but they’re not at Pocho’s level. Throughout this short clip Pocho hesitates, and waits for surges in the music—but notice the feet of the other dancers in the background. Their feet have a sort of nervous movement that’s not really in the music. If you watch this video a lot and become aware of their movement in relation to Pocho's, their dancing begins to seem like background static. I pointed this out to Alej, and she looked for a minute and said, "Yes! The others are just doing... whatever."

But it’s not only that Pocho waits while the others move. The opposite is also true. Look at the corridita he takes when the slider reaches the part between the two arrows (0:36~0:50) in the window above. First, he and Alej pause, and then Pocho steps to the right. Then, as the bandoneon takes on a harsher, more urgent pitch, Pocho follows it. It's very clear that both Alej and Pocho know what's coming—and notice how well they respond: Pocho takes a surging, emphatic step into the two heaviest bandoneon hits, and then he slows for a moment to mark the quick notes at the end of the phrase. You might also note how Alej's right leg sweeps around behind her as Pocho steps to his right, just before the corrida. What a beautiful step! At this point, she’s completely in sync with Pocho's music, and then she uses a long reaching back step to help him through his little run. Like their slight hesitation in the cross on the previous page, you can see an almost perfect partnership in their musical expression.

The point is that not only does Pocho wait when he should, but he also moves when he should. All you have to do is compare Pocho and Alej's surging movement during this corridita to the other dancers. Most of them are still fooling around doing steps, and the music passes them by. They miss the opportunity because they're not connected to the music. If you can’t hear it, you can’t dance it.

Over time, as I watched this video, it began to look like Pocho and Alej were the only ones dancing, and the others were just practicing steps. There's a huge lesson here for every tango dancer:

 1.   Know  the music. 

2.   Listen  to the music. 

3.   Move  to the music.

Let's look at Pocho again, this time performing in 2003 with Nelly:

This is as nice an exhibition of milonga traspie as you’ll ever see. Taken together, these two videos show why Pocho is so respected. Like any good performer, he knows how to communicate with his audience... and in this case, it's a pretty knowledgeable group. In fact after I watched it a few times, I began to enjoy the reaction of the crowd almost as much as the dancing. Listen closely toward the end of the clip, where some guy yells "Eeypaaa..." as Pocho and Nelly do a neat double giro with traspie. This is a very porteño exclamation that everyone in the room understands (and it's one of the first things our 16 month old Martina learned to say). Pocho knows how to use tango one way on the floor of a milonga, and in a very different way to entertain—which makes him one of only a handful of people on the planet who have mastered both worlds of tango.

A note about Nelly: What great feet! Light and heavy at the same time. Look how she steps into the floor, and how she uses a slight traspie to match Pocho's lead.

A note about the music: The music in the first video is Corazon No le Hagas Caso—a Calo/Berón tango about a man talking to his heart, trying to convince himself to get over the loss of a woman. It's a beautiful tango... but I think the milonga in the second video is really more Pocho's music.