飞机模型制作:EXPRESSION IN DANCING 舞蹈表现法

EXPRESSION IN DANCING
舞蹈表現法
台湾TPshingfawu先生译
感谢TPshingfawu先生：
台湾舞者TPshingfawu老师是一位真正的舞者，一年来为无数大陆舞友精心奉献出其译制的众出珍贵的视频教学资料，无私无求，爱舞至深！如大家所在网络上见到的相关视频右上角含“D&M”典藏版标识。教学视频有：卢卡《舞蹈圣经》中文版1~2集、卢卡《移动的艺术》中文版、马科斯《简而美》经典系列教学中文版、马科斯《远程指导》系列、米尔科《高级舞步技术》、《醒目的头部标志》中文版、《LeBase》中文版、《造型舞步与身体线条》、《通向成功的新舞步》最新教学、阿鲁纳斯《身体线舞姿》、乔纳森《自然主义》中文版、辛格森《华尔滋的艺术》讲座中文译文、及《摩登舞个人练习系列》等等，还有拉丁舞教学视频......，凡此种种皆为精品，俱为TPshingfawu老师为天下爱舞者奉献的精美佳作！
非常感谢TPshingfawu老师为我们大家带来的福音！缘此无碍地接触到世界水平的先进理念，不会因为对英文的障碍而心生歧义。在此摘录老师的《通向成功的新舞步》视频，希望转摘者尊重译者的劳动，注明译者，让我们用感恩之心，爱舞之忱，一起来享受TPshingfawu老师所带来的舞蹈至美感受，天下爱舞者都能相互理解，更应相互尊重！
兹摘录TPshingfawu老师译作的《EXPRESSION IN DANCING 舞蹈表現法》供爱舞者赏析！
感 恩 TPshingfawu 老 师！

There are hundreds of dancers who have a good floor appearance, correct technique and reasonable good movement, and yet do not achieve greatness. What do they lack? Perhaps the most important difference between the good dancer and the outstanding dancer are in Softness and Expression.
有许多舞者，虽然有良好的临场外观，正确的技术和适度好的动作，但迄未能达到登峰造极之境。他们缺乏什么？优良舞者 与杰出舞者之间 最大的不同，或许是柔和及表现法。
Most dancers know that the correct softening of the knee on a step such as the first step of any Waltz turn will give their dance a more pleasing appearance, and they strive to acquire it. Fewer competitors realize that to give their dancing better rhythmic expression means the difference between the ordinary and the great.
大多数舞者都知道，诸如华尔兹在任何转的第一步，这样的步子，膝的正确松曲，能给予他们的舞蹈有一个更令人喜爱的外观，而且他们也努力这样做。很少的竞争者，了解给予他们的舞蹈有较佳的节奏表现，能引起 (平凡) 和 (卓越) 之间的不同。
A few rather obvious examples will help to convey what is meant by expression. Watch the manner in which some dancers place the third step behind in the Whisk. It can be placed there rather quickly, dead on the beat. in which case there will most possibly be a jolt f as the weight moves on the step-or it can be almost “caressed” into position, slowly, with firm control, perhaps arriving slightly late but with good rhythmic expression.
一些相当显然的例子，能协助传达表现是什么诠释。 仔细观察一些舞者，扫形步 (Whisk) 时，第三步放置在后面的方法，它可以相当快速的放置，或无生气的依着拍子，这种方式在重心移至步子时，很可能有一些颠簸----或者它可以几乎是「抚爱的」进入位置，缓慢的，伴同坚定的控制，抵目的地或许稍迟，但它具有良好的节奏表现。
The last three steps of the Natural Spin Turn in the Waltz can be danced with the strict timing of one beat for each step---or a little speeding of the movement on the fourth step can result in almost hanging on the fifth step with a rather late and light sixth step which completely alters the character of the movement.
华尔兹右旋转步的后三步 (即拍子4,5,6,)，可按一拍一步的精确速度跳----或者在第四步时少量的增加速度，能使第五步几乎是 (悬挂在空中) ，加上相当迟而轻的第六步，则完全的改变了步子的格调。
The Feather-step and Three-step in the Foxtrot can be given their correct technical timing; or a delayed timing of the previous step on the Left foot (last step of the Natural Turn) can be followed by a bold swing on the first step of the can be followed by a bold swing on the first step of the Feather and a slightly delayed third step, which will completely alter the expression. There are dozens of other instances where playing with the timing, achieved through the movement of the body rather than the placing of the feet, can make the dancing fascinating to watch and intensely satisfying to the dancer.
狐步的羽步和基本三步，可以按照正确的技术速度跳，或延缓前一步左足的速度 (右转步的最后一步) ，而使下随之羽步的第一步，有一个显目的摆荡，再稍微延缓第三步，将完全改变了表现。有许多其它的例证，速度的变幻与其藉足的放置，不如经由身体的动作获得，能使舞蹈看起来迷人，且使舞者非常满足。
How is it done? Can it be acquired? It is done by stealing time from one step to give a hovering effect to the next; by softening the knees, and by appreciating that if the lady is given the correct lead she will help to create the impetus to gain this effect without obvious effort. All this can be acquired by any skilled dancer who has a strong sense of rhythm, good balance and the patience to practice so that it appears as an integral part of the dance. The eurhythmic dancer will fail at first, but there is nothing to prevent the acquisition of such rhythmic interpretation by anyone who has shown sufficient ability to become an intelligent average dancer.
它是如何做的?、它能够得到吗?、它的做法是窃取一个步子的时间而给予下一个步子(盘旋的效果)，藉膝的松曲，以及认知上如果给予女士正确的引导，她将协助产生冲力以得到这个效果，显然的不费力。所有这些，任何有强烈节奏感、良好平衡及耐心练习的舞者，都能够做到，如此则显得它像是舞蹈的主体。无节奏感的舞者，起初不容易做到，但这种节奏感演出的技能，是没有什么真正的阻力，任何人都有充份的能力成为出色的舞者。
Possibly the best amalgamation to practice is the Natural Turn ending with the Impetus Turn in the Foxtrot. Here are some hints for the man.
或许练习这一点，最好的混合步是狐步的 右转步，末尾以诱转步 (the Impetus) 下接。这里有一些给男士的提示。
Dance 1,2,3 of the Natural Turn and then continue into the Impetus Turn in the following way----
As the L.F. is taken back on the 4th step, give the lady a firm, but not too strong, lead with the R. hand so that she swings well forward against your R. side. Soften the knees still soft and count this step “Q” (not the usual “S”).
跳右转步的一至三步，而后按下面的方法继续进入诱转步。 在第四步左足后退时，以右手给予女士坚定而不太强烈的引导，如此则她将适度的对着你的右侧向前摆荡。双膝松曲，并计
数这一步为「快」(不是通常的「慢」)。
Dance the Heel Turn without worrying whether the feet are closed tightly together, and with the knees still soft. Keep the feet parallel even though they are not closed. Count this step “S.” It will be noticed that the lady’s forward movement will make you turn. Do not try. to turn yourself. The weight should be kept well back all the time you are turning, and about half a turn should be made on the Heel Turn.
跳 跟转，不要忧虑双足是否紧密的拼在一起，同时膝仍是松曲的，双足保持水平，既使它们没有并拢。这一步计数为「慢」，应注意女士的前进动作将使你转。你不要自已企图转。你整个转的期间，重心应适度的保持在后面，并且跟转时应约作半圈转。
Still keep the weight back as the body continues to turn slightly to the R. ( not more than an eighth of a turn ) and keep a firm hold of the lady to stop her swinging away from you. Do not try to rise. The speed of the lady’s movement will cause you to rise without any effort on your part.
在身体继续稍微向右转时 (不要超过八分之一圈)，重心仍然保持在后面，并保持坚定的握持，使女士停止荡离开你。不要企图上升。女士移动的速度，将成为你上升的原因，你自己没有任何奋力。
On the 4th  beat move the L.F. to the side and rather more back than in standard technique. Make sure that it is actually placed on a late count of “Q,” and placed lightly with the weight now forward, before stepping back on the R.F., diagonally to center against the L.O.D. for the normal “S” count, to continue with the Feather Finish, diagonally to center.
在第四拍时左足移向侧，但宁可比标准技术较为向后，确实做到它的放置实际上是一个较迟的 「快」 计数，且是敏捷的放置，同时现在重心向前面，而后右足逆舞程线，斜对中央踏退，按常态的「慢」计数，继之以羽步 结束，斜对中央。
Thus the timing has been altered from SQQS to QSQS. The effect will be to get early speed, then a Hover，and this expression will be found far more pleasing and attractive than the standard timing.
因而速度自 慢快快慢 变成 快慢快慢，如此则会得到速度提早，以及盘旋的效果，而这样的表现，将远较标准速度令人喜爱和漂亮。
If, when practicing the figure, it is noticed that the effort to quicken the movement between the first and second steps of the Impetus can be seen, you can be sure that it is bad and that you have not mastered the lead. The speed must be gained without obvious effort.
当应用这种方法时，应注意在 诱转步 (the Impetus) 的第一和二步之间，增加移动速度的努力，如果能被人察觉的话，那么你能够确定它是不佳的，而且你没有掌握引导。速度的获得，必需没有明显的费力。
Another extraordinarily good amalgamation to practice is Open Impetus Turn, followed by the Weave in the Waltz. The Weave from Promenade Position is described on pages I58-I62 and is very much used by advanced dancers. Important points to watch are given below.
另一组练习这种方法格外好的混合步，是华尔兹中的 分式诱转步 下接以 迂迥步。迂迥步自侧行位置是叙述于第158至162页，高级舞者是常常使用的。必需注意的要点提供于下面。
Dance 1,2,3 Of the Natural Turn (Waltz) and then take the 4th step back, again giving the lady a firm lead with the R. hand to swing her forward against your R. side.
跳右转步的一至三步 (华尔兹)，而后第四步后退，再以右手给予女士一个坚定的引导，使她对着你的右侧向前摆荡。
Instead of using the Heel Turn in the Open Impetus Turn, take the R.F. to the side and back, across the L.O.D. with the body facing diagonally to center. Keep the L.F flat. The R.F. is placed on the ball of foot, with the knees soft.
取代分式诱转步中踵转的使用，右足踏向侧并后方，交叉舞程线，同时身体面向斜中央。左足保持平伏。右足是以足掌放置，双膝松曲。
The lady’s impetus will now compel you to continue to turn to the R. to face the L.O.D. and rise to the toes. Do not move the L.F., but allow the L. knee to veer inwards towards the R. knee. The lady, on the outside of the turn, will allow her R.F. to brush towards the L.F. Keep firm pressure on the lady’s back to prevent her from overturning, and hover as long as possible before replacing weight on to the L.F., moving diagonally to center on a late count of “6” The body will now commence to turn to the L.
女士的分式诱转步冲力现在将迫使你继续向右转至面向舞程线， 并上升至趾，左足不要移动，但允许左膝向内转向右膝。女士是转的外圈，将允许她的右足刷向左足。在女士的背部保持坚定的压力，以防她转度过大，并且在重心移换至左足，以一个迟的「六」计数，向斜中央移动之前，尽可能 (盘旋) 较长久。
The attractive Weave ending should be danced as follows. Step forward with the R.F., diagonally to center in P.P., and as this step is taken, give the lady a very firm lead to swing her well across the front of you as you step forward on the L.F. (on ball of foot), moving almost to center. On this step 92) the lady will take a long step to side with
the R.F. on the ball of foot, having turned square to the man, but with her head still turned to the R.
漂亮的迂回步结尾，应按下面的方式跳--右足在侧行位置斜对中央踏向前，而在这一步进行后，给予女士一个非常坚定的引导，使她在你以左足前进，约向中央移动时 (以足掌作)，适当的交叉在你的前面白摆荡。在这一步 (2)，女士应是用 右足掌大步踏向侧，并已转至对立向男士，但她的头部仍然转向右。
The swing given to the lady on the first step will cause her to continue to turn on the ball of R.F. until facing the L.O.D., when her L.F. is placed to the side (3). This swing will also result in the man and lady rising from the ball of foot on the end step, and the man will endeavor to hold this rise with a hover effect, before placing his 3rd step (R.F.) to side with the body backing the L.O.D.
由于第一步的摆荡，将使女士继续以右足掌转，直到她的左足放置向侧 (3)，面向舞程线。这个摆荡亦将使男士和女士在第二步时自足掌上升，而男士应尽力掌握此一上升，在他的第三步 (右足) 放置向侧，同时身体背向舞程线之前，达成一个盘旋的效果(2)
The Weave is continued by the man stepping back with L.F. down the L.O.D. With the lady outside (4). On the 5th step the man takes the R.F. back rather quickly, giving
the lady a firm lead forward. Lady will step forward L.F. in line with man. Both man and lady use the ball of foot on 5.
迂回步接下来是男士以左足顺舞程线踏退，同时女士外侧(4)。
在第五步时男士以右足相当迅速的后退，给予女士一个相当坚定的向前引导。女士将以左足与男士对立着踏向前。第五步男士和女士都是用足掌。
With the body turning to the L. press upwards from the ball of foot (this will be assisted by the lady’s forward swing ) and get a slight hover effect before placing the L.F. to side, with the body facing wall on 6. Take this step slightly late, and lightly.
偕同身体转向左，迫使自足掌上升  (这应是藉女士的向前摆荡之协助)，而在第六步左足向侧，同时身体面向壁之前，得到一个(轻微的盘旋效果)。第六步应稍迟，以及轻快。
The next step will be taken outside lady with the R.F., remember to lower the L. heel and release it again as the weight moves forward over the R.F. to continue into a Natural figure.
下一步将是以右足外侧女士进行，在重心移换至右足，以继续进入右转的步子时，记住降下左跟并再次升起。
There are many other figures in which better expression can be gained by stealing time from one step and adding that time from one step and adding that time to the
next. The Hover Telemark will look infinitely better if, instead of giving it the strict  S Q Q S  rhythm the time is distributed to the approximate value of one and half beats, one and half beats, 1 beat, 2 beats.
有许多其它的步子，藉偷窃一步的时间，并增加至下一步，能得到较佳的表现。 盘旋滑雪形转步 如果取代它精确的慢 快 快 慢 节奏，看起来将无限量的更加好，速度的分配大略为一又二分之一拍、一又二分之一拍、一拍、两拍。
The really first-class dancer will know whether an unusual rhythmic interpretation is justified on artistic grounds by the feel of it. The less experienced dancer should seek the advice of a professional who can tell at once whether an unusual interpretation is advisable.
事实上第一流的舞者，藉艺术基碍的意识，应知道一种例外节奏的演出，是否被认为恰当。经验不足的舞者，应寻求能够立刻说出，职业者一种例外的演出是否得当的的意见。
米爾可華爾滋通往成功的新舞步-初級篇
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