Styles of Tango(1) 各种风格的阿根廷探戈舞蹈（一）
2009-04-07 00:48阅读：
关于探戈的分类，有依照音乐风格分成3大类《Tango, Milonga,
Valz》，也有按照舞蹈风格分的，在以下这篇文章里，我们要探讨的，是依照探戈跳法的分类。。。
Styles of Argentine
Tango《探戈的门派/风格》
In Buenos Aires and other parts of Argentina, tango is danced in a
spectrum of individualistic or personal styles, and many tango
dancers who are Argentine do not accept a categorization of their
own dancing by any broad stylistic name. They simply say they are
dancing tango, their own style, or the style of their neighborhood
or city.
尽管探戈到现在演变成为一种高尚的文化，并发展出许许多多不同的风格，但是我们永远不能改变探戈的品质，如果只是一味地跳着舞步，尽管学得很像，但可能就不是在跳“探戈”，而是其他舞蹈了。
不管在布宜诺斯艾利斯或阿根廷的任何一个角落，基本上每一位探戈舞者都有他的一套很个人的探戈架构（就像每个人都有其独特个性一样，是不能简单将其分类的）。许多阿根廷当地的探戈舞着也不愿意被归类于任何一种风格里，他们只是简单的说他们是探戈舞者，有他自己的风格，顶多就说是哪个城市或小地方的风格。
A few confuse the issue further by identifying their own style by a
name that other dancers associate with a different style.
Consequently, clearly describing the char
acteristics of various styles is difficult, challenging,
potentially controversial, and possibly misleading. Nonetheless,
the commonalities and differences that can be found across the
continuum of individual styles allow rough definitions of a number
of distinguishable styles of Argentine tango that are currently
danced: Salon, Orillero, Milonguero, Club, Nuevo, Liquid,
Fantasia(Esenario), and Canyengue.
想要借由名称归类探戈舞者的风格其实是很容易造成混淆的！想要清楚的描述各种各样的探戈风格是很困难、很具挑战性、很controversial
，搞不好还误导了别人。不过，一般而言，对于现在的探戈，还是有一些粗略的定义把他们区分为：Salon, orillero,
milonguero, club, nuevo, liquid, fantasia, and canyengue.
每个人都有自己的探戈风格，就像每个人都有自己的人格、自己的个性、自己的时尚一样！也正因为“一个人，一种探戈”！Camila卡蜜拉选择探戈老师与舞伴的首要工作，当然是跳得好，然后，就是看他的“人格”！（如果你还是觉得奇怪，那么，了解一下Camila卡蜜拉对探戈本质的看法，对我而言，探戈除了是舞蹈，更是一种修炼与修为！）如果我不能认同某位大师为人处世的态度，就算他跳得再好，我也不想拜他为师或和他成为舞伴的！
（一）Salon
style
Tango is typically danced
with an upright
body posture. The
embrace can be close or open,
but it is typically
offset (with
each dancer's center slightly to the right of their partner's
center) and in a
V (with the
woman's left shoulder closer to the man’s right shoulder than her
right shoulder is to his left shoulder). When salon-style is danced
in an open embrace, the distance between the partners allows the
woman to execute her turns more freely and pivot without requiring
much independent movement between her hips and torso. When
salon-style is danced in a close embrace, the couple typically
loosens their embrace slightly to accomodate the turns and allow
the woman to rotate more freely. If the woman rotates her hips
through the turns independently of her upper torso, the embrace
need not be loosened as much. Salon-style tango is
typically danced to the most strongly accented beat of
tango music played in 4x4 time, such
as DiSarli. Those who dance salon-style tango to Juan D'Arienzo or
Rodolfo Biagi typically ignore the strong ric-tic-tic rhythm that
characterizes the music. Salon-style tango
requires that dancers exercise respect for the line of
dance.
在众多的探戈舞蹈当中，最常见的就是 Salon, Milonga, Club
和 Nuevo这几种。特别是在阿根廷以外的地方，基本跳 Salon
和 club的style。
（二）Orillero
Orillero-style tango
may have been developed in
the outlying neighborhoods of and around Buenos Aires where there
was more space on social dance floors, or it may have its origins
in the streets of poor outlying tenements. In either case,
orillero-style tango was not considered acceptable in the refined
salons of central Buenos Aires during the golden age of tango. In
many respects, however, today's orillero-style tango
is like
salon-style tango. It
is danced
with upright body posture, and
the embrace is typically offset in a V and can be either close
or open. In the turns,
the woman is allowed to move freely and pivot without requiring
much independent movement between her hips and torso. When
orillero-style tango is danced in a close embrace, the couple
loosens the embrace slightly to accommodate the turns. If the woman
rotates her hips through the turns independently of her upper
torso, the embrace need not be loosened as much. Orillero-style
tango differs from salon-style tango because
it adds playful, space-consuming embellishments and figures
that do not always respect the line of dance.
Many of the playful elements are executed to the
ric-tic-tic rhythm that characterizes the music of Juan D'Arienzo
and Rodolfo Biagi.
