探戈的风格样式

人们用许多名称来描述探戈的不同风格样式，例如老舞棍式探戈，斜靠式探戈，Villa Urquiza式探戈，市中心式探戈，社区式探戈，闭式探戈，开式探戈，舞厅探戈，花式探戈，表演探戈，舞台探戈，新式探戈，等。

造成不同风格样式的根本原因在于人的心理倾向。感觉型的人注重个人体验和内在感受。运动型的人注重动作和外观。感觉型的舞者，其中很多都是老舞棍，创造了老舞棍式探戈。这种样式是用贴身(闭式)拥抱跳的，其中舞者彼此略微斜靠在对方身上，使用简单而紧凑的步子。这些舞者经常在位于布宜诺斯艾利斯市中心比较拥挤的俱乐部里跳舞，所以又叫做市中心式探戈。老舞棍式是以拥抱为特征的。

运动型的舞者，其中也有不少是老舞棍，创造了Villa Urquiza式探戈。这种样式是用直立的姿势和松散的拥抱来跳的。它的步子优美，并使用较多的停顿和点缀。这些舞者喜欢在不太拥挤的社区俱乐部里跳舞，例如Villa Urquiza区的Sin Rumbo俱乐部，所以又叫做社区式探戈。Villa Urquiza式是以步法为特征的。

老舞棍式和Villa Urquiza式被公认为舞厅探戈，或社交探戈。社交探戈是一个松散的总称，泛到能容纳不同的风格样式，窄到不允许反社交行为。社交舞者可以是感觉型的或运动型的，但他们都在俱乐部跳舞并遵守舞会规则。

二十世纪三十年代中期到五十年代中期，社交探戈成为布宜诺斯艾利斯的主导文化。在一九四零到一九五零年间，有二十三个比他们的Villa Urquiza同僚更加运动型的舞者，定期聚集在纳尔逊俱乐部研究新步法。他们创造了一个称为花式探戈的新样式。这种样式使用开式拥抱，以花哨的套路和炫耀的步法使探戈戏剧化，并以使用编导排练和不受舞会规则约束把自己同社交探戈区别开来。其主要目的是作秀，因此又叫做作秀探戈，表演探戈，或舞台探戈。

阿根廷从一九五五年到一九八三年是由一系列军事政变集团统治的。几届军政府的政策都不鼓励社交探戈。宵禁被强制执行，人们经常被检查他们的警方记录。许多与以前的庇隆政权有牵连的人都遭逮捕或干脆消失了。结果，人们不再跳社交舞，探戈也转入地下。社交探戈在这一时期的空白给花式探戈一个占领舞台的机会。当军人政治于一九八三年结束以后，是这种样式领导了探戈的复兴。

从花式探戈，一些运动型的舞者进一步创造了所谓新式探戈。这是一种把探戈和非探戈元素，如另类音乐及新奇步法之类，搅合在一起的杂交舞。新式探戈不仅把自己同社交探戈，也同探戈完全分离开来。如果探戈沿那个方向发展，它将不再是原来意义上的探戈，正如我们在所谓的另类舞会上已经看到的那样。

The Styles of Tango

Many terms are used to describe different styles of tango, such as tango milonguero, tango apilado,tango Villa Urquiza, estilo del centro, estilo del barrio, tango de salon, tango fantasia, close embrace tango, open embrace tango, performance tango, stage tango, tango Nuevo, etc. 

The fundamental cause of stylistic differences lies in human psychologies. People who are feeling-oriented incline to personal experience and inward feelings. People who are movement-oriented incline to steps and outward look. The feeling-oriented dancers, of whom many are milongueros, have developed the milonguero style, which is danced in a close embrace with slight leaning (apilado) against each other, using simple and compact steps. These dancers often dance at the clubs in downtown Buenos Aires where the floors are crowded—hence the term estilo del centro, or downtown style. Milonguero style features the embrace.

The movement-oriented dancers, of whom many also are milongueros, have developed the Villa Urquiza style, which is danced in a loose embrace with an upright posture, using stylish steps, more pauses and adornments. These dancers like to dance at the neighborhood clubs, such as Sin Rumbo in Villa Urquiza, where the floors are less crowded—hence the term estilo del barrio, or neighborhood style. Villa Urquiza style features the footwork.

Milonguero style and Villa Urquiza style are commonly recognized as tango de salon, or social tango. Social tango is a loose term broad enough to include stylistic differences and narrow enough to exclude anti-social behaviors. Social dancers may be feeling-oriented or movement-oriented, but they all dance at the clubs and abide by the milonga codes.

Social tango dominated the culture of Buenos Aires from mid 1930s to mid 1950s. From 1940 to 1950, twenty-three dancers, who were more movement-oriented than their Villa Urquiza colleagues, met regularly at the Club Nelson to work on new steps, and they gave birth to a new style know as tango fantasia. Danced in open embrace, tango fantasia dramatized tango with showy figures and fancy footwork, and separated itself from social tango by using choreography and not conforming to milonga codes. The main purpose of this style is to perform on the stage; therefore, it is known as show tango, performance tango, or stage tango.

From 1955 to 1983 Argentina was ruled by a succession of military juntas whose policies discouraged social tango. Curfews were enforced and people were routinely checked for their police records. Many were arrested or simply disappeared for aligning with the previous Peronist regime. As a result, people stopped dancing socially, and tango went underground. The absence of social tango during that period gave tango fantasia an opportunity to take the stage. When the military rule ended in 1983, it was this style that led the revival of tango.

From tango fantasia, some movement-oriented dancers went further to create tango Nuevo, a hybrid style combining tango and non-tango elements, such as exotic music and eccentric steps. Tango Nuevo not only separates itself from social tango, but from tango entirely. If tango moves in that direction, it will cease to be tango as it was created for, as it already is the case in so-called alternative milongas.