探戈是怎样带领的

传统的带领理论是驱驶理论。根据这一理论男人在探戈中带领女人就如同把婴儿抱在怀中摇她入睡。这一理论反映了探戈故乡阿根廷的男权文化。男人拥抱女人，用他的胳膊环绕女人的身体。女人安居于他怀中，依在他身上，胸部亲密地贴在他的胸口。她不需要思考，计划，或率先迈步，只需委身于他，靠在他怀里而任其驱驶。由于两人身体连在一起，男人很容易驱驶女人。他可以用他的身体轻轻推动她，或转动身体，使她跟着一起转动，或用他的身体将她的身体倾斜，直至她迈步，或向一侧转身并移动，使她跟着向该侧跨步，或用他的身体摆动她的身体，使她的腿跟着摆动，形成步子，或增加惯性，使她的身体在脚着地后由惯性带动而偏离重心，导致另一只脚着地，等等。驱驶的方法多为感觉型的舞者所使用。这些舞者喜欢拥抱中舞伴之间亲密的身体接触和两人身体在一起有节奏地与音乐同步运动的感觉。对于他们来说，探戈是同步运动。“跟随”是个不正确的概念，因为它意味着分离和耽延。决定一个好的领舞者的是他用自己的身体去影响跟舞者的身体运动的能力。决定一个好的跟舞者的是她让自己的运动与领舞者的运动保持同步的能力，以达到一致，一体，和谐，同时。人们需要知道步子才能跳探戈，但步子是为了方便拥抱，使两个人能舞动得象一个人一样。感觉型的舞者使用简单的步子来避免干扰。他们专注于音乐，拥抱，交流，同步，和感觉。这个理论是老舞棍式探戈的基础。

另一种理论是标志理论。这一理论把带领定义为标志或信号。标志可以是在对方的身侧一按，腿上一碰，手上一推，背上一压，掌中一捏，姿态的某种变化，或类似的任何组合。它是领舞者告诉跟随者他要她如何移动的秘密信号。“掌握探戈是掌握信号的制作。”（《探戈，爱的艺术史》，罗伯特·法里斯·汤普森著）这种方法的问题是缺乏标准化。每个领舞者都以个人方式来标志舞步。除非熟悉他的信号，跟随者将很难跟从。因为个性化和模糊性的特点，这种方法尚未有清楚的定义。尽管如此，它对探戈的发展产生了显著的影响。用标志或信号来带领使得跟随者有必要对其进行诠释。领舞者不得不迁就她的主观解释。这改变了探戈的跳法。这一理论与采用松散拥抱而较多以手带领的Villa Urquiza式探戈有关。

在欧洲和北美，由于受个人主义，女权主义和“政治上正确”的文化影响，占主导地位的理论是“邀请”理论。根据这一理论，领舞者发送给跟舞者的不是驱动，而是一个建议或邀请。提建议的男士需要等待女士首先迈步，然后跟随她。其顺序好象这样：“领舞者‘邀请'女士进入房间。她接受邀请，并在她自己选定的时间进入，他然后跟随她。从某种意义上说，领舞者变成了跟随者。”（《对探戈的激情》，大卫·特纳著）这一理论离开了传统的探戈理论。它适合那些喜欢使用开式拥抱的运动型舞者，以便发挥更多的个性。没有直接的身体接触，领舞者胸部发出的驱动变得不那么直接和肯定，因而在很大程度上取决于跟随者对怎样，何时，或是否接受他的“邀请”所做的选择。领舞者必须等待，并顺应跟舞者的选择。结果，性别角色交换了，动作胜过了感觉，个人表演取代了同步运动，而探戈也变成了“新式”探戈。

How Tango Is Led

The traditional theory on how tango is led is the driving theory, according to which the man drives the woman in much the same way he carries a baby in his arms and sways her to dream. This theory reflects the macho culture of Argentina where tango was born. The man embraces the woman with his arm encircles her body. The woman settles into his embrace, leans on his torso, with her chest intimately touches his. She doesn’t need to think, plan and initiate the movement. She simply surrenders herself, rests in his arms, and lets him drive her. With the torso-to-torso connection the man can easily actuate the woman. He can use his torso to gently propel her, or turn his torso to make her turn with him, or use his torso to tilt her until she makes a step, or make her step on his side by twirling and moving his torso to one side, or swing her torso, which will bring along the swing of her leg to form a step, or increase the momentum that, after her leg lands on the floor, will carry her body pass over the center of gravity and lead to the next step, etc. The driving method is used by the feeling-oriented dancers who incline to the feeling of the embrace, the intimate torso-to-torso contact between the partners, and the rhythmic motion of the two bodies moving together in sync to the music. For them, tango is synchronization. The word “follow” is an incorrect notion because it implies separation and delay. What makes a good leader is his ability to use his body to effect the movement of the follower. What makes a good follower is her ability to synchronize her movement to his, so that unity, oneness, harmony and synchronism can be achieved. One needs to know the steps to dance tango, but the purpose of steps is to facilitate the embrace so that the two may remain one in motion. The feeling-oriented dancers use simple steps to avoid distractions. They concentrate on the music, embrace, communication, synchronization and feeling. This theory is the foundation of the milonguero style of tango.

Another theory is the la marca theory, which defines the lead as a mark or signal. The mark can be a tapping on her side, a touch on her thigh, a push in her hand, a press on her back, a tickle in her palm, a body posturing, or any combination of such. It is a secret code used by the leader to tell the follower how he wants her to move. “Mastering tango is mastering the making of signals.” (Tango, the Art History of Love, by Robert Farris Thompson.) The problem of this method, however, is the lack of standardization. Each leader marks the steps in his personal way. Without learning his set of signals, the woman would have difficulties to follow his marks. Due to the private and ambiguous nature, this method remains indefinable. Nevertheless, it has a significant impact on the development of tango. Using mark to lead makes it necessary for the follower to interpret it. The leader then has to adapt to her subjectivity. This changes how tango is danced. The Villa Urquiza style danced in a loose embrace and hence relying more on the hands to lead, is associated with this theory.

The theory dominating Europe and North America is the invitation theory, influenced by their individualist, feminist and politically correct culture. According to this theory, what the leader sends to the follower is not a drive but a suggestion or invitation. The gentleman who has given the suggestion needs to wait for the lady to initiate her movement, and then follow her. The sequence is like this: “The leader ‘invites’ the lady to enter a room. She accepts the invitation and, in her own time, enters, and he then follows. In a sense, therefore, the leader has become the follower.” (A Passion for Tango, by David Turner.) This theory breaks away from the traditional tango. It suits the movement-oriented dancers who prefer to dance in an open embrace that allows more individuality. Without the torso-to-torso contact, the drive, which comes from the leader’s torso, becomes less direct and assertive, and hence depends to a large degree on the follower’s choice of how, when, and whether to accept the “invitation.” The leader has to wait and adapt to her choice. As a result, gender roles reverse, movement triumphs over feeling, fanciness supersedes simplicity, individual performance replaces synchronization, and tango becomes tango Nuevo.

驾驶与同步

探戈大师劳尔·卡布拉尔是个杰出的探戈理论家和老舞棍式探戈教师。他在http://www.raultangocabral.com.ar上发表了一系列文章。以下是对其关键信息——通过正确拥抱实现同步运动——的简要概括。

舞者最重要的素质与舞步毫无关系。对领舞者来说，最关键的是他的乐感和他驾驶跟随者的能力。对于跟随者来说，最关键的是她保持自身轻盈和与领舞者同步运动的能力。

在探戈中，领舞者就象司机，用他的身体去驾驶舞伴的身体。领舞者的每一步都是通过舞伴表达的。驾驶并不意味着他先动，然后等待舞伴跟着动。探戈是同步运动，即在同一时间一起行动。这意味着“跟随”是个不正确的概念，因为“跟随”意味着片刻之后。即使是很小的片刻也不能说是同步。正确的做法应该如同跟随者进入带领者的汽车，在他们共同的音乐之旅中任其运载。

探戈独特而神奇的实质在于两个身体象一个身体一样运动。这完全是通过拥抱和身体传达其运动信息的能力来实现的。许多人通过探戈重新发现了拥抱的意义。探戈的拥抱把我们带回到在女人怀抱保护下度过的生命的初期。是对拥抱的渴望把人们带进探戈。拥抱是探戈得以在世界许多文化中普及的原因。

驾驶舞伴和同步运动是通过合适的拥抱来实现的。探戈从一开始就只有一种沟通方式，既从身体到身体，而不是由手臂到手臂。两个舞伴的接触是通过身体的连接。他们的身体略微前倾，重心落在脚掌，但整个脚包括脚跟均接触地面。舞伴各自负责自己的平衡。男舞伴向女舞伴张开胸膛，欢迎她进入他的怀抱。他坚实地拥抱她，但不施加任何压力，全身没有任何紧张或僵硬之处。他用整个身体带领她，但他的信息主要来自胸口。他用这信息传达感觉，方向，步伐大小，计时，节奏，停顿，等等。他片刻不失去与她的连接，也从不割断与她的交流。

女人依在男人怀抱里，贴在他身上，让他感觉好象穿着她。她将身体微微前倾靠在他胸口，并合适地定位自己的胸部，这样她可以收到从他胸口发出的每一点信息。她把自己的身体从腰以上向上伸展，仿佛一根绷紧的琴弦，能在他微微的拨动下颤动。她的身体是柔软而放松的。由于放松，她的四肢，包括腿，臂，头，似乎并不存在，只有上身，尤其是胸部，成为她注意的中心，使她能感觉到从他胸口发出的任何信息，并与之同步运动。她的体重落在脚掌，但整个脚，包括脚跟，是与地面接触的。她的手臂轻轻地，无重量地放在他肩上。她不挂在他身上，或利用他来稳定自己，而是保持自己的平衡，所以她显得轻盈。她温顺而贴切，柔软却不松弛（例如臀部）。因为她的胸部微妙而实在地贴在他身上，她的存在是可以被感觉到的。她让他感觉到自己，也不断开与他的连接，知道如果她把自己与他分开，她就不能从他身上得到信息。她不断收听从他胸口发出的信息。她的胸一直贴着他的胸，直到探戈结束。这是实现同步运动最精确的方式。

Driving and Synchronization

Raul Cabral is a tango master, a brilliant thinker and teacher of the milonguero style of tango. He published a series of essays on http://www.raultangocabral.com.ar. The following is a brief summary of his key message on achieving synchronization through proper embrace.

The most important qualities of a dancer have nothing to do with steps. What are essential for the leader are his musicality and his ability to drive the follower. What are essential for the follower are her abilities to be weightless and to synchronize the movement.

The leader is the driver in tango, who uses his body to effect the movement of the body of his partner. Every step of the leader should be expressed through his partner. Driving does not mean that he moves and waits for his partner to follow. Tango is synchronization, or moving exactly at the same time. This suggests that the word “follow” is an incorrect notion, because “follow” implies a moment later. Even if the moment is minimal, there is no synchronization. What is correct for the follower is to enter the moving car of the leader and allow herself to be transported by him on their musical journey.

The unique and magical essence of tango, two bodies moving as one, is achieved solely by the ability of the body to communicate the message of its movement through the embrace. Many people, through tango, are beginning to discover the importance of the embrace. Which takes us back to the first years of our lives, to the protection of the chest of women. It is the need of that connection that brings people into tango. The embrace is the reason that tango has triumphed in the multitude of societies in the world.

Driving and synchronization are achieved through proper embrace. Since the beginning of tango, there is only one communication in tango and it is corporal, from body to body, not arms to arms. The two partners make contact through their bodies, which are weighted slightly forward on the balls, but supported by the entire feet on the floor, including heels. Each partner is responsible for his/her own balance. The man spreads his chest, offers it to his partner, and welcomes her into his body. He embraces her firmly, but puts no pressure on her. There is nothing tense or hard in his body. He leads her with his whole body but his main message comes from his chest, from which he communicates the feeling, the direction, the size of step, the timing, the cadence, the pause, etc. He never loses his contact to her, not even an instant, and he never cuts the flow of communication.

The woman settles into the man’s embrace, molding herself on him until it feels as if he were wearing her. She leans her body slightly forward against his, and properly positions her chest so that she can receive every minute message from his torso. She stretches her body from the waist on upwards, as if she were the string of a violin vibrating at his slightest touch. Her body is soft and relaxed. It is upon relaxation that her extremities, legs, arms and head, become void of matter, and her torso, especially her chest, becomes the main focus. This allows her to feel the messages from the body of the leader and move in unison with him. Her weight is on the inside of the ball of her foot, but her whole foot, including the heel, is in contact with the floor. Her arm lands gently and weightlessly on his shoulders. She doesn‘t hang on him, or use the embrace to stabilize herself, but keeps her own balance, thus she is light. She is supple, but toned, soft, but with nothing loose (hips, for instance). Her presence is notable with subtle but assured pressure of her chest against his. She does not efface herself or break the connection, knowing if she separates herself from him, she won‘t get the information from his body. She is continuously tuned to the messages he emits from his chest. Until the tango is over, her chest is permanently in contact with his. This is the most exact way to achieve synchronization.

探戈的拥抱

探戈舞能以多种方式来跳。例如，它可以使用虚拟拥抱，其中两个舞伴互相对舞却没有任何接触。男人从胸部发出信号，告诉女人他想要她如何运动，而女人跟着男人胸部的信号动作。这信号非常不容易辨认，因为它只能靠观察而不能被感知。不同信号之间的差别往往非常微妙，难以用肉眼识别。无论领舞者发一个明确的信号，或者跟随者辨认这个信号，都很具有挑战性。虚拟拥抱缺乏实际拥抱的肉体感和舒适感，也不能用来做需要身体支持的动作。尽管有这些局限，它却揭示出一个事实：带领和跟随不只是个物理过程，也是个心理过程，需要集中注意和互相理解。意识到这一点非常重要，因为舞者不可能以脚跳好舞，除非他/她能够以心跳舞。

探戈也可以使用开式拥抱，其中两个舞伴只靠双臂和双手连接，而没有身体的接触。手臂和手是身体的延伸。即使没有直接的身体接触，舞者仍然可以通过手臂和手的接触感受到对方的意图和体动。开式拥抱提供一个支撑的框架而又为身体运动留有余地，因而为喜欢花哨舞步和戏剧性表演的运动型舞者所青睐。然而，在开式拥抱中舞者是否如理论上所说用躯干来带领和跟随是值得商榷的。在实际舞蹈中，运用开式拥抱的舞者往往依靠双臂和双手来带领和跟随，远不如贴身拥抱舒服。此外，开式拥抱缺少贴身拥抱的亲密感，肉体感和心灵交流。

跳探戈舞也可以只用上身连接而无手臂和手的帮助。这种方法可以增强舞者直接运用躯干来进行沟通的能力。用躯干来带领和跟随是阿根廷探戈的独特之处，也是探戈舞的关键技巧之一。习惯于舞厅舞和开式拥抱而不习惯用躯干交流的舞者特别需要这种训练。他们马上会发现他们习惯性地使用双手对跳探戈是一种妨碍。他们也会发现臂和手的重要性。没有双臂和双手的接触，就象没有躯干的接触一样，两个人很难舞动得象一个身体。人们实际跳探戈舞时不是只用躯干接触而无双臂和双手的帮助。但是，这个练习能增强用躯干进行交流的能力，为跳好探戈奠定坚实的基础。

最便于交流也最舒服的拥抱是闭式拥抱，其中两个舞伴不仅双臂相搂，他们的上身也彼此贴靠，就象实际生活中的拥抱一样。身体是个表达和接受力非常强的器官，也是个非常感性，抱在怀里十分舒服的物体。在闭式拥抱中，两个舞伴胸贴着胸，脸靠着脸，一个的头枕着另一个的肩，一个的手搂着另一个的腰，一个的臂弯着另一个的脖子。两个人都感觉到对方柔软，有弹性，温暖和敏感的身体。在这样亲密的拥抱中，双方能直接感受到对方的意图，感情，乐感，和身体的运动，并得以在舞蹈中互相交流，互相抚慰，互相支持。贴身拥抱的亲密，舒适和心灵贴近，使它深受具有内向性，感觉型，和情感型倾向的舞者，而不是外向型，运动型和表演型舞者的青睐。

初学者可能会发现，在闭式拥抱中，由于舞伴之间空间颇小，跳舞时行动不方便。不过，这只因为他们是新手。以紧凑方式跳舞需要一定的经验。随着经验的增长，这种局促的感觉会逐渐消失，而越来越变得游刃有余。熟练的舞者在运用闭式拥抱时常采用一些变形来增加运动的可能性。一种变形是V形拥抱，其中两个舞伴将其身体的一侧连接，而让另一侧处于打开状态。另一种是增加身体的梯度，让两人的下身有更多的空间。第三个选择是将两种变形综合起来。这些变形对身体的柔韧和力度要求高一些。在实际舞蹈中，舞者经常交替从一种拥抱转成另一种拥抱。例如，在跳8字步时，女人可以从一侧的V形接触转成胸对胸接触，再转成另一侧的V形接触。

选择采用哪种拥抱可能受许多因素的影响，如身体状况（柔韧和力度），个人风格（运动型或感觉型），目的（社交或表演），环境（人口密度和舞厅规则），音乐（快节奏或慢节奏），跳法（花式动作或简单动作，大步或小步），成熟度（年龄和经验）等。每种拥抱都有长处和短处。许多舞者在跳舞时不时从一种拥抱转成另一种拥抱。混合使用不同的拥抱可以使舞者的技能得到充分的发挥，从而增加舞蹈的表现力。

闭式拥抱曾使探戈获得“妓院舞蹈”的美誉而被上流社会所禁止。开式拥抱的出现对探戈的普及和传播作出了贡献。一些年轻一代的舞者看到了用开式拥抱做花动作的可能性，发起了新式探戈运动。该运动尤其在阿根廷以外形成势头。当探戈转到这个方向后，它失去了原有的风味。作秀，体操倾向，反社交行为，另类音乐，开放拥抱，非探戈元素的纳入，性别角色的互换，和其他改革尝试接踵而至，使探戈变成一种不伦不类的混合舞蹈。在探戈的故乡阿根廷，老探戈卫士们——布宜诺斯艾利斯的老舞棍们，坚决捍卫传统探戈。他们的跳法，即老舞棍式探戈，今天在布宜诺斯艾利斯的舞会上仍然是主导风格。但传统主义者和改革者之间的战斗仍在继续。

Tango Embrace

Tango can be danced in many different ways. For example, it can be danced in a virtual embrace where the two partners dance around each other without any physical contact. The man leads the woman by sending a visual signal from his torso, showing her how he wants her to move, and the woman follows the visual lead to make the movement. A visual lead is difficult to perceive because it cannot be felt and must be seen. The difference between different signals often is so subtle that it is hard to discern. It is quite challenging for the leader to send a clear visual signal and for the follower to apprehend it. Also, a virtual embrace lacks the physicality, comfort and sensation of a physical embrace. It disables movements that require physical support. Despite these limits, virtual embrace reveals the fact that lead/follow is not just a physical process but also a psychological one, which requires mental concentration and perception. The awareness of this fact is important because one cannot dance well with feet unless one can dance with heart.

Tango can also be danced in an open embrace where the two partners are connected only by arms and hands without any body contact. Arms and hands are extensions of the body. Even in the absence of direct body contact the dancers can still sense each other’s intentions and body movements through arm and hand contact. The open embrace provides a frame of support while leaving room for body maneuvering, and therefore is favored by movement-oriented dancers who like fancy steps and dramatic acts. It is arguable, however, that open-embrace dancers still use the torso to lead and follow, as they theoretically should. In reality, due to the lack of body contact, they tend to rely on arms and hands, which is less comfortable in comparison to the torso-to-torso connection of the close embrace. Also, the open embrace lacks the intimacy, sensuality and soulfulness of the close embrace.

Tango can also be danced only with the connection of the torsos, free from arm and hand contact. Dancing this way can sharpen the dancer’s ability of using the torso to communicate without the help of arms and hands. Using the torso to lead and follow is essential in tango, which is a unique feature of Argentine tango. Ballroom dancers and open-embrace dancers who are not used to torso communication particularly need this exercise. They will quickly discover how their habitual using of arms and hands impedes their dance. They will also discover the importance of the arm and hand contact, without which, just as without the torso contact, it is difficult to dance as one seamless body. People do not actually dance tango only using the torso connection without the support of arms and hands, but the experience gained from this exercise will lay a solid foundation for their tango dancing, regardless of the embrace they choose.

The most communicative and comfortable embrace is the close embrace, where the two partners are connected not only by arms and hands but also by the direct contact of the torsos. The body is a very expressive and receptive organ. It is also a very sensual and comfortable object to be held in the arms. In a close embrace, the two partners lean into each other chest against chest. Her head rests on his shoulder. His arm holds her back, and hers around his neck. The two partners feel each other’s soft, springy, sensitive, flexible and responsive body, communicating through it the feelings stirred by the music while dancing, in the support of their arms around each other. The intimacy, soulfulness, physicality and comfort of the embrace make it the favorite style for feeling-oriented dancers who incline to the romanticism, sentiment and sensuality of the dance more than the gymnastic acts.

Beginners may find that close embrace hinders the movement due to the lack of space between the partners. But that is only because they are novices. Dancing in a compact fashion requires experience. More skilled dancers also use some variations of the embrace to increase movement possibilities. One variation is the V-shape embrace where the two partners are connected by one side of their torsos and leave the other side open. Another is to increase the gradient of their bodies to allow more space between the legs. The combination of the two is a third choice. These variations require flexibility and stamina. In reality, dancers often switch from one variation to another in their dancing. For example, in the process of a front ocho, the woman may change from one side V-shape contact to a chest-to-chest contact to another side V-shape contact.

The choice of embrace may be affected by many factors, such as the physical condition (flexibility and stamina), personal style (movement inclination or feeling inclination), purpose (social dancing or performance), environment (population density on the floor and milonga codes), music (fast or slow tempo), movement (fancy or simple, large or small steps) and maturity (age and experience), etc. Every embrace has its merits and limits. Many dancers alternate from one embrace to another back and forth in their performance. Mixing different embraces can bring the dancer’s skills into full play, thus increase the expressiveness of the dance.

Close embrace gained tango a reputation of “the dance of the brothel” and caused its ban by the polite society. The emergence of the open embrace style contributed to the acceptance and spread of tango. Some dancers of the younger generation saw a new vein for fancy footwork in the new style and launched the Nuevo movement, which gained momentums especially outside of Argentina. As tango moved into this direction, it lost its original flavor. Gymnastic tendency, antisocial behavior, alternative music, the break of embrace, the adoption of non-tango steps, the swap of gender roles, and other attempts to reform the dance came in succession, changing tango to a hybrid dance. The old guards in the home country of tango, the Argentine milongueros, strongly defend its root. Their way of dancing tango, known as the milonguero style, is still the dominant style in the milongas of Buenos Aires today. But the battle between the traditionalists and the reformers continues.

贴身探戈与开式探戈（四）

跳贴身探戈实在太舒服了，我不止一次听到我的舞伴说他们象婴儿一样被摇入梦乡，直到舞曲终止也不愿醒来。探戈优美的音乐和节奏性的摆动对舞者，尤其是跟随者，有一种催眠作用，使他们坠入冥想或梦境。有些舞者用沉醉或极度欣快来描述这种状态。也有人把它叫作魔力，因为舞者似乎穿上了水晶鞋，发挥得淋漓尽致。

与以花式动作吸引观众的开式探戈不同，贴身探戈用简单的步伐来取悦舞伴。当舞者以引人注意为目标而注重动作时，舞伴便变成为第二位的了。当舞者以舞伴为目标而注重让舞伴感觉舒服时，舞步便成为第二位的了。两种探戈强调的是完全不同的东西。开式探戈力在印象，而这正是贴身探戈想避免的。贴身探戈的原则是取悦舞伴。舞者不用难度的步法来挑战对方，而力求让对方感觉舒服，达到梦境或魔力状态。所有动作都是为这一目标服务的，任何与该目标相违背的动作都避免了。

但这并不意味着贴身探戈忽略舞蹈的艺术性。探戈原本是一个贴身拥抱的舞蹈。许多优美的探戈都是用这种样式跳的。贴身探戈的妙处在于紧凑，简练，亲密和典雅。与双方各自保持独立的轴心和平衡的开式探戈不同，在贴身探戈中两个舞伴的身体略微前倾，相互倚靠，相互支持，形成不同于开式探戈的框架和线条。在这种姿势下跳舞所需要的技巧和能力是贴身探戈特有的，虽然与开式探戈不同，但只要跳得好，同样优雅美丽。 

传奇摄影师乔·麦克纳利这样评论自己的一桢摄影作品《帕洛玛·埃雷拉的脚》：“美和痛苦是并存的，尤其在舞蹈界。帕洛玛并不愿意这样做，但我还是请她在炼习结束时脱下她的舞鞋。她的脚简直就是一个烂摊子。”我理解一个芭蕾舞演员为实现完美而忍受的痛苦，但我想用这个故事来表述另一个观点。表演性舞蹈与娱乐性舞蹈有一种哲学上的区别。当被问及在探戈中舒适与优美孰为重要，舞者是否应该为一方而牺牲另一方的时候，我的老师，老舞棍鲁本·阿贝回答说：“凡是舒适的，也应该是优美的。凡是优美的，也应该是舒适的。”真正的探戈大师不为美而牺牲舒适，也不为舒适而牺牲美，因为对他们来说美和舒适应该是并存的。

Close Embrace and Open Embrace (IV)

Dancing close embrace is so comfortable that I have heard time and again from my partners that they felt like a baby lulled to sleep and did not want to wake up when the tanda ended. The beautiful music and rhythmic motion have a hypnotic effect to the dancers, especially followers, causing them fall deeply into a state of meditation or dreaming. Some dancers describe it as intoxication or euphoria. Others call it duende, as the dancers appear to be possessed by a spirit that gives rein to the dance.

Unlike in open embrace where fancy movements are made to impress, in close embrace simple steps are used to pleasure the partner. When impression is the goal, movement is the center of attention and the partner becomes secondary. When pleasure is the goal, the partner becomes the center of attention and movement is secondary. The two styles emphasize totally different things. What open embrace is after in an effort to impress is precisely what close embrace wants to avoid. The chief principle of close embrace is to pleasure the partner. The dancers are not in a position to challenge each other with difficult footwork. They are in a position to give comfort to each other. The goal is to achieve euphoria or duende. Every movement is aimed at that end; any thing contradictory to that end is avoided.

That does not mean that close embrace neglects the artistic quality of the dance. Tango at its very root is a close-embrace dance. Some of the most beautiful tangos ever danced are danced in close embrace. The beauty of close embrace lies in the compactness, simplicity, intimacy and elegance of the movement. Unlike in open embrace where each dancer keeps his/her own axis and balance, in close embrace the two dancers lean on each other for support, their bodies are slightly bent from a vertical position, resulting in a frame and line that is different from that in open embrace. Dancing in that posture requires techniques and skills that are uniquely close-embrace, deferent, but equally elegant and beautiful when done well. 

Legendary photographer Joe McNally commented on a photograph he entitled Paloma Herrera’s Feet: “Beauty and pain go hand-in-hand—especially in the world of dance. Paloma wasn’t happy about it, but I asked her to take off her shoes at the end of a workout. Her feet were a mess.” I am aware of the pain a ballerina has to endure in order to reach perfection, but I use this story to make another point. There is a philosophical difference between dance for show and dance for pleasure. When asked whether comfort or elegance is more important in tango and should a dancer sacrifice either one in favor of the other, my teacher milonguero Ruben Ayber answered, “What is comfortable should also be elegant. What is elegant should also be comfortable.” True tango masters do not compromise beauty for comfort, nor do they compromise comfort for beauty, because to them beauty and comfort go hand-in-hand.

贴身探戈与开式探戈（三）

跳闭式探戈的感觉与跳开式探戈非常不同。当两个舞伴用贴身拥抱跳舞时，男性领舞者感觉到女性跟随者柔软，富有弹性，灵活和有反应的身体。她完全委身于他，融化在他的怀抱里，成为他顺从的一部分。不管他做什么，她都倾心跟随。她的身体在他怀里左右扭动，她的乳房摩擦着他的胸脯，她的腿触碰他的腿，她的肌肉时而紧张时而放松，她的身体灵巧而女性地不断随着他姿势的改变而改变...... 所有这些带给他一种非常愉悦的感觉。他感觉到一个有血有肉的女人。他享受她的存在。她美丽的身体和女人味激发着他的灵感。他喜欢这与她在一起的时刻，因为只有她作为女人才能唤醒他内心中作为男人的感觉，强壮，负责，呵护，可以依靠，正如只有他作为男人才能激起她内心中作为女人才有的柔情一样。他的阳刚之气，力量，支持和保护让她感到安全，被爱和美丽。在他的怀抱里她返回到她的女性和童真。只有在这一刻，她才能真正感觉并享受做女人的快乐，因为在现实生活中她不能完全那样。探戈被称为避难所。但是这种效果只有当异性在一起跳舞时才会产生。当男人跟男人或女人跟女人跳舞时，探戈的神奇便消失了。在我看来，同性跳舞是反探戈的。也许有人不同意我这么说。但那是我。我喜欢女人，并喜欢阳刚与阴柔之美并具的舞蹈。

但这还不是全部。如果说闭式探戈富有肉体感，那么，它同时也是浪漫和诗意的。没有人把探戈的浪漫和诗意描述得比尤金·格里戈里耶夫更好。我想在此全文引用在他的短文《什么是探戈？》因为我自己不能比尤金写得更好，而离开对这种内在，神奇，梦幻和震撼灵魂的感受的描述，对闭式探戈的描述就是不完全的。以下全文援引的是尤金的杰作。

“探戈不仅仅是一个舞蹈或序列舞步。它是感情的表达，是内心体验的反射，是以运动的方式宣泄我们的感受。探戈是以动作表达感受的语言，由音乐所激发，与舞伴相和谐。它以不同的方式进入你我的生活，从一个单纯的兴趣，嗜好，或迷恋......竟至在不知不觉中渐渐变成一个瘾。

一个简单的眼神，手势，微笑，流盼，他请求做她的带领者，她接受他的带领，这一切都是在无言中进行。在音乐的推动下，她来到他面前。他们拥抱。他们感觉到对方的呼吸。他们感到充满激情的歌曲展开，流经他们的身体，鼓舞着他们，激发他们的情绪。他们共享这情绪。在现实生活中他们可能是素不相识的陌生人，但在这探戈瞬间他们却可以是任何他们想作的人......你不必知道你的舞伴，甚至不想知道他/她。时间在此刻不复存在。舞者双双随乐起舞，听音乐告诉他们该怎么跳，时而缓慢，时而停顿，时而加速，时而悬置，都在这一瞬间，好象被音乐附身一样。在这瞬间以外是真实的世界，充满日常的烦恼，对策，责任，限期......但不在这里，不在此刻。此刻只有探戈，一个避难所，一种对欲望和向往的超现实的体验......语言是难以形容的。

探戈舞会的社交功能非常奇妙。它拥有期待，惊喜，迷人的音乐，短暂的聚合与分离。把我们吸引到探戈中来的是有节奏地与异性同步起舞的挑战和满足。这感受既是物理的，又是超现实的。在一首三分钟的歌曲中，你可以体验象坐过山车那样时起时落的情绪，但你不是独自体验，因为在这三分钟里有一个人拥抱你，与你分享他/她的感受......一切都在默默无言中进行，通过运动而表达出来的纯净，原始的情感。”

 

Close Embrace and Open Embrace (III)

The feeling of dancing close embrace is very different from that of dancing open embrace. When two partners are in a close embrace, the male leader feels his female follower’s soft, springy, flexible and responsive body. She surrenders herself to him, melting in his embrace and becoming an obedient part of him. Whatever he does, she follows wholeheartedly. As he leads her dancing, her body twists to his left and right, her breasts rub his chest, her thigh touches his thigh, her muscles relax and tense, and her whole body adapts ingeniously and femininely to his changing posture... All these generate a very pleasant feeling and sensation. He feels a real flesh-and-blood woman. He enjoys her company. The beauty of her body and her femininity excite him. He enjoys that moment being with her because only she as a woman can stir the feelings within him that make him a man, strong, in charge, protective, and dependable, just as only he as a man can stir within her the feelings that she enjoys as a woman. His masculinity, strength, support and protection let her feel safe, loved, and beautiful. In his embrace she returns to her womanhood and childhood again. Only in that moment she can truly feel and enjoy being a woman, as in real life she has to be less. Tango is known as a refuge, and it has to be danced between a man and a woman to have that effect. When tango is danced by men or women alone, something mysterious and magic is missing, and that to me is anti tango. I know some may argue with me about this. But, hey, that’s me. I like women and enjoy a dance that contains the beauty of both masculinity and femininity.

But that is not all. If close embrace is physical and sensual, then it is also romantic and poetic. No one has described this aspect better than Eugene Grigoryev in his essay What Is Tango? I want to quote the essay in its entirety here because I cannot say it better than Eugene, and the description of close embrace would not be complete without a depiction of this inward, heavenly, dreamy and soulful feeling. The following is the entire quote of Eugene’s masterpiece.

“Tango is more than just a dance or a sequence of steps. It is an expression of our emotions, an inner reflection of who we are and what we experience, a way to channel what we feel through movement. Tango is a language of expressing what we feel through motion, stirred in us by music, in unison with our partner. It comes into your lives in many different ways, as simple interest, a hobby, or a fascination… and ever so slowly it becomes an addiction.

A simple look, a gesture, a smile, an eye contact, his askance to lead, her acceptance to be led, all done without any need of verbal communication. As the music compels them, she comes close to him, they embrace… they feel each other breathe, they feel the passionate song unfold, it flows through their bodies, invigorating them, stirring emotions, which they both share… they can be strangers in real life, but as long as they are in this tango moment, they can be anyone they want… You don't have to know the person or even want to know them. Time ceases to exist during this moment, both dancers are moving to the music, listening for it to tell them what to do… they slow down, pause, accelerate, suspend, all in the moment… almost as being possessed by the music. Outside of this moment is the real world, with its everyday problems, solutions, responsibilities, deadlines… but not here, not now… Now it is only tango, a refuge, a moment of surreal experience of desire, longing… words are not meant to describe it.

The social aspect of milonga is fascinating. It holds anticipation, surprise, heavenly music, moments of contact and separation. The challenge and satisfaction of rhythmically moving in unison with another person is what lures us to Tango. The experience is both physical and surreal. In three minutes of a song, you can experience a rollercoaster of emotions, but you will not experience them alone. For those three minutes there will be a person embracing you, sharing what they are feeling with you… all without a single word being spoken… pure, raw emotions expressed through motion.”

(http://www.facebook.com/note.php?note%20id=39585867347)

贴身探戈与开式探戈（二）

贴身拥抱探戈和开式拥抱探戈就像两种不同的舞蹈，在结构，技巧，感觉和哲学（什么是探戈？为什么人们跳探戈？舞伴的作用，合作的原则）等方面都不相同。会跳其中一种舞的人如果未经学习不一定会跳另一种舞。我知道这点是因为有切身体验。当我学了三年开式探戈后第一次尝试跳贴身探戈，我完全不知道该如何跳，因为一切，包括姿势，接触，平衡，空间，动作的可能性，领舞和跟舞的方法等都改变了。

事实上，开式探戈更象交谊舞。正如标准的交谊舞一样，在开式探戈中两个舞伴相隔一臂距离，没有身体接触。每个舞伴各自保持独立的轴心，不依赖对方来维持平衡。从理论上讲，领舞者应该用他的躯干来带领。但是，因为舞伴之间没有躯干的接触，领舞者往往用手来领舞。如果一方或双方都是没有经验的舞者，这种倾向尤其明显。跳开式探戈的感觉也象跳一般的交谊舞，没有拥抱另一个人的舒适感，感觉不到对方身体的运动，没有节奏性运动所造成的梦幻般的感觉，也没有舞伴之间的亲密感。跳开式探戈的乐趣主要来自由两人之间的距离而带来的运动可能性。每一个舞伴基本上是在欣赏自己的运动，而不是在享受自己的舞拌。

我觉得跳开式探戈就象跳交谊舞。它艳丽复杂，令人眼花缭乱。但这不是我喜爱探戈的原因。我喜爱探戈是因为它的拥抱，那种在一起的感觉，肉体感，内向，深情，微妙，亲密，感性，舒适，和简朴。在拥抱中，两个舞伴互相偎依在一起，胸膛靠着胸膛，脸颊贴着脸颊，她的头枕在他的肩上，他的手搂着她的腰，她的臂弯着他的脖子。在这么亲密的拥抱中两个人都感受到对方的呼吸，听到对方的心跳，闻到对方的香水味，感觉到对方的冲动。他们不再是两个人，而变成了一个人，彼此依靠着达成平衡。两人之间空间很小，共一个轴心转动。因此，他们舞动的方式与开式探戈不同。领舞者用他的胸部领舞，因此不需要使用双手。跟舞者用她的胸部来接收信息。她闭上眼睛，委身于领舞者，跟着他翩翩起舞。在这样一种姿势下跳舞是非常舒服惬意的。

Close Embrace and Open Embrace (II)

Close embrace tango and open embrace tango are like two different dances. The two styles have little in common in their structures, techniques, feelings, and philosophies (what tango is about, why people dance tango, the role of the partners, and principles of partnership), so different that people who can dance one style may not be able to dance the other style without learning. I know this from my personal experience. When I first tried to dance close embrace after three years of dancing open embrace, I had no clue how to do it because everything, including posture, connection, axis, balance, space, movement possibilities, and the way to lead and follow, changed.

In fact, open embrace has more in common with ballroom dances than tango. Just as in a standard ballroom dance, in open embrace the two partners are apart by an arm length without torso connection. Each partner is on his/her own axis independent to the other, so the two partners do not rely upon each other for balance. Theoretically, the leader is supposed to lead with his torso. But since there is no torso connection between the partners, the leader tends to use hands to lead. This is especially true when one or both partners are inexperienced dancers. The feeling of dancing open embrace is just like dancing another standard ballroom dance. No comfort of embracing another person. No sensation of the partner’s body movement. No dreamy feelings stirred by the rythmic motion of the dance. No intimacy between the partners. The fun of dancing open embrace mainly comes from a broader range of movement possibilities due to the increased space between the partners. Basically each partner enjoys his/her own movements. They do not enjoy the physical existence of the other person.

I like to dance open embrace just as I like to dance ballroom dances. It is spectacular, intricate, dazzling, and showy. But that is not the reason why I love tango. The reason I love tango is found in close embrace: its togetherness, inwardness, simplicity, subtlety and depth; its sentimentalism, intimacy, sensuousness, physicality and coziness. In close embrace, the two partners lean into each other, chest against chest, cheek touches cheek; her head rests on his shoulder, his arm holds her back, and hers around his neck. In such closeness the two partners literarily feel each other’s breaths, hear each other’s heartbeats, smell each other’s perfume, and sense each other’s impulses. They are not two persons, but one, depending on each other for balance. There is a shared axis and little space between them. Consequently, the way they move their bodies is different from that in open embrace. The leader leads with his torso against the follower's and therefore does not need to use hands. The follower receives the lead with her chest. She closes her eyes, surrenders herself to him, and follows. It is a very comfortable position to be and dance in.

贴身探戈与开式探戈（一）

我喜欢阿根廷探戈的许多方面：它的音乐，激情和美丽，它的艺术，体育，社交和娱乐功能，它的文化（舞会规则，老舞棍传奇，点头邀请，甚至男子气概）等等。然而，探戈如果不是男人和女人之间的舞蹈，所有这些都不会有太多意义。苏珊娜·米勒说，“如果你喜欢探戈，那么你喜欢女人。”我们面对现实吧，说到底，女人是探戈之所以吸引男人的原因。反之亦然。虽然在一定程度上其他双人舞也是如此，探戈却与众不同。它是一种有更多身体接触，更亲密，更感性的双人舞。

某英国广播公司（BBC）的评论员说，“探戈隐藏着男人和女人之间互相向往的秘密。”此乃一语中的。但是，男女之间的向往并非全是性的向往。我相信探戈满足异性之间亲密接触的需要，是非性欲的。在我们的社会中，这种男女之间的纯洁接触被视为禁区，任何异性之间的接触都被视为性接触而不被允许。男人和女人除非想发生性行为，就不能有任何亲密接触。换言之，我们的文化不接受两性之间纯洁的亲密关系。

但阿根廷探戈代表着一种不同的观念，或一种认同异性之间纯洁而亲密接触的文化。探戈是那一文化的产物。从这个角度说，探戈不只是一个舞蹈。它是满足人类需要的一种程式化的优雅方式。探戈设有一套规则来维护参与者的行为得体与个人尊严。这也是为什么舞会规则是探戈的重要组成部分。我相信，探戈在文化上对世界的影响远​​远超出其在艺术上的影响。探戈现在成为一个世界性的现象是有原因的。它满足人类异性之间纯洁向往的需要。

但是探戈的这一层面对美国人来说还是个全新的概念。这可以从我们拥抱探戈的方式得到证明。我们把探戈当作一种交谊舞，我们在跳舞时避免亲密的身体接触。许多人羞于贴身拥抱而采用开式拥抱。虽然开式拥抱在布宜诺斯艾利斯很少见，在美国却占主导地位。点头邀请和舞会规则在美国舞厅中也没有实施。我们探戈群体的文化氛围更是个人主义的，竞争性的，甚至对立的，而不是亲密，友好，合作的。去过布宜诺斯艾利斯的人都知道我是在与什么做比较。

CloseEmbrace and Open Embrace (I)

I like everything about Argentine tango: its music, passion, beauty, its artistic, sportive, social and recreational functions, and its culture (milonguero legends, milonga code, cabeceo, and even machismo, etc.). All of these, however, would not mean so much if tango were not danced between a man and a woman. As Susana Miller said, “If you like tango, then you like women.” Let’s face it, at bottom it is women that attract men to tango, and vice versa. Although to some degree that is true with all partner dances, tango is different. It is much more intimate, physical, and sensual.

One BBC commentator remarked, “Tango contains a secret about the yearning between men and women.” That is right on. The yearning, however, is not necessarily a sexual one. I believe tango fulfills a human need for intimacy between opposite sexes in a nonsexual way. Our society is so sex oriented that this innocent yearning between men and women has been deprived. Any intimacy between opposite sexes is deemed sexual and, therefore, is repressed either voluntarily or involuntarily. Men and women cannot be intimate unless they want to have sex. In other words, our culture does not approve innocent intimacy between the two sexes.

But Argentine tango represents a different view, or a culture, that recognizes and sanctions nonsexual intimacy. Tango is a product of that culture. In this context tango is not just a dance. It is a way by which that innocent human desire can be met with stylized sophistication and elegance under a set of rules designed to maintain the dignity and decency of the participants. (That is why milonga code is such an important part of tango.) The influence of tango to the world, I believe, is by far more cultural than artistic. Tango is now becoming a worldwide phenomenon for a reason. It meets a fundamental human need—fulfilling that secret yearning between men and women.

But that aspect of tango is still new to Americans, as evidenced by the way we embrace tango. We dance tango as but another ballroom dance. We are not intimately engaged to each other in the dance. Many of us still shy away from close embrace and prefer to use open embrace instead, which, although rarely seen in Buenos Aires, is the dominant style in American tango scene. Cabeceo and milonga codes are not taught and practiced at most milongas in the U.S. The general culture and atmosphere in our tango community is still more individualistic, competitive and even hostile than intimate, cooperative and friendly. Those who have been in Buenos Aires know what I compare with.