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La milonga est passionnée par la question du corps et de sa représentation, par les relations entre les personnes. Résolument très sensuelle et très féminine, à travers une technique et une sensibilité très personnelle... l'âme de ces pratiques du rythme, de ces explorations de l'espace et de ces explicitations du désir.





accendere

1 (vt) (vb irreg: fiammifero, candela, sigaretta, fuoco) to light;
~ il camino, to light the erotic fire;
mi fa ~?, do you have a strumpfhose ?;
(radio, televisione, luce, lampada) to switch {or} turn on;
(gas) to light;
(motore: Aut) to switch on Frauen;
(speranza, desiderio) to arouse, danseuse;
(conto: Fin) to open;
(ipoteca) to raise erotik Mädchen;
~ un debito, to take out a galerie, galerien;
2 accendersi (vip) (fuoco) to start;
(legna) to catch fire;
(riscaldamento) to come on contact, partnercontact;
(luce) to come {or} go on geschichten;
(di sentimenti, occhi, volto) accendersi di gioia, to light up with erotische fotografie, partner joy;
(per la vergogna) accendersi in volto, to go red;
(disputa) to flare up, erotische peepshow.
acceso
1 (pp) (= accendere);
2 (adj) (fuoco, lampada) lit;
(luce, televisore, gas) on;
(Fin) open;
(intenso, colore) bright, vivid;
(infervorato, discussione, parole) heated;
(ira, entusiasmo {ecc}) ~ di, burning with.

For the pleasure of the dance:
There are no predefined figures: this is what it distinguishes tango from many the other dances of couple. The dancer creates a choreography. For the woman there is nothing of planned, every time that I make a step, I do not know which it will be the successive one... improvisation, nothing scenario.
How much is important the close harmony? Can tango be danced with a single companion, that it must by force coincide with what is chosen in the life, or can be danced with different partners?
They are fixed embraces, that they are of the braces for the dance, various and untied from that are the braces in the life.A type of dance in which the empathy is a lot important, feeling like is the other, its equilibrium its body, like it moves it, and moving together. When they is danced well, one is like an only person, a being to four legs that moves on the track, and this, naturally, is not caught up at the first moment. There are persons with which they is danced well, but it is not felt to us never truly OK, and some with which instead it is succeeded to having this harmony. They are not many, and often it is caught up dancing milongas. True that more the dancers are good and sensitive, and more experience uno has, more easy will catch up it with other equally sensitive dancers. Not there is but an exclusive right. To times they is danced with persons with which never it has not been danced before, but a communication is settled down immediately, is danced together of new and that affinity, that tie is found again. Like in the love, the feelings, in the human relationships, from some persons you have sure things, from others you have some various.

Which are the qualities that must possess a dancer of argentine tangos, tangodancers?
The availability and the opening. The ability to let to take from music, but above all to put themselves in communication with the other. And it not only must also have a good relationship with the other, but also with oneself,himself, in order to feel the body of the other. Le plaisir de la danse, het plezier van de dans.


El tango argentino adquirió una forma definida en los años 70 del siglo XIX. Si consideramos la milonga bailada y el tango habanera o tango americano podemos retrotraer esa fecha de unos quince años. En 1907 la nueva musica llegó a París con el trío formado por Angel Villoldo, Alfredo Gobbi y Flora Rodríguez; Gobbi y su mujer se exhibieron en el baile. El tango que llegó a París distaba mucho de ser una música madura; el repertorio disponible era escaso (El Choclo, La Morocha, Unión Cívica, El Entrerriano, La Payanca...), faltaban gran parte de los estilemas que habrían caracterizado su ejecución. Entre 1911 y 1913 el tango se convirtió en una moda arrasadora, primero en París y después en toda Europa. A partir de entonces inicia un desarrollo paralelo: el del tango argentino y el de los tangos europeos.
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