आपकी पृष्ठभूमि का आपके काम करने के तरीके से गहरा संबंध होता है।
Your background has a lot to do with your approach to movement.
Your background has a lot to do with your approach to movement.
तो यह आंदोलन और गायन के बीच एक सुखद मेल होगा, और... यह एक ऐसी बात है जिस पर आपको बहुत विचार करना पड़ता है।
So it would be a happy marriage between the movement and the vocal and uh, this is the thing that you give a lot of consideration to.
So it would be a happy marriage between the movement and the vocal and uh, this is the thing that you give a lot of consideration to.
खैर, किसी खास धुन के लिए कोरियोग्राफ़ी करते समय सबसे महत्वपूर्ण बात यह होती है कि आप उसकी कहानी को समझें। अपने कदमों को सिर्फ साधारण नृत्य न बनने दें, बल्कि उन्हें उस बात का एक जीवंत शारीरिक ड्रामा बना दें जिसके बारे में गीत में गाया जा रहा है। इसके साथ ही, संगीत की धुन और उसके लेताल का पूरा सम्मान करें।
Well, the most important thing in choreographing for a specific tune is to get the story line and try to make your movements, rather than just actual movements, let them become more or less a physical drama to, to what they were singing about. And uh, also, uh, honor the beat and the rhythmic pattern of the musical track.
Well, the most important thing in choreographing for a specific tune is to get the story line and try to make your movements, rather than just actual movements, let them become more or less a physical drama to, to what they were singing about. And uh, also, uh, honor the beat and the rhythmic pattern of the musical track.
वोकल कोरियोग्राफ़ी में आपको इस बात का खास ख्याल रखना पड़ता था कि आप नर्तकों के साथ नहीं बल्कि गायकों के साथ काम कर रहे हैं। लेकिन आपको गायकों को ऐसा दिखाना होता था कि वे नर्तक लगें, उनके हाव-भाव को जितना हो सके स्वाभाविक रखना होता था, और उनके आंदोलनों का उस गीत के बोलों से कुछ न कुछ मेल होना चाहिए।
In vocal choreography you had to give a lot of consideration to the fact that you were working with singers and not dancers. But you had to make singers look like they were dancers, and to make the movements as natural as possible, and there to be an association with the movement, uh, somewhat to what the lyric was saying.
In vocal choreography you had to give a lot of consideration to the fact that you were working with singers and not dancers. But you had to make singers look like they were dancers, and to make the movements as natural as possible, and there to be an association with the movement, uh, somewhat to what the lyric was saying.
गायकों को एक बेहतरीन परफ़ॉर्मर बनाने के प्रशिक्षण में बहुत सी बातें शामिल होती हैं। जैसे आवाज़ का ठहराव और उसका उतार-चढ़ाव, जिसकी परवाह कई बार कलाकारों ने कभी की ही नहीं होती थी।
There's a lot that goes into training, singers to eventually become performers. There's, projection, uh, which in many cases the artist was never concerned about.
There's a lot that goes into training, singers to eventually become performers. There's, projection, uh, which in many cases the artist was never concerned about.
आपको इस बात पर बहुत ध्यान देना पड़ता था कि कलाकार को, खासकर बैकग्राउंड गायकों को, वापस माइक के पास आकर गाना शुरू करना है। आपको यह सुनिश्चित करना होता था कि उन्हें अपनी सांस वापस पाने के लिए संगीत के कुछ ताल (बार) मिल सकें। और कई बार, बहुत से कोरियोग्राफ़र इस बात पर ठीक से विचार नहीं करते थे।
You had to give, uh, a lot of consideration to the fact that, uh, the artist had to come back into the mike area and start singing, especially the background singers, you know. And you had to make sure they had a couple of bars of music in order to catch their breath. And uh, in many cases a lot of choreographers didn't give that, uh, the proper thought.
You had to give, uh, a lot of consideration to the fact that, uh, the artist had to come back into the mike area and start singing, especially the background singers, you know. And you had to make sure they had a couple of bars of music in order to catch their breath. And uh, in many cases a lot of choreographers didn't give that, uh, the proper thought.
वोकल कोरियोग्राफ़ी की बात करें तो, जिन शुरुआती समूहों के साथ मैंने काम किया उनमें से एक था 'द कैडिलैक्स', जो कि बेहद प्रतिभाशाली कलाकारों का समूह था। वे सभी बहुत अच्छे से मूव करते थे और उन्होंने एक तरह से चॉली एटकिंस की शैली को स्थापित किया था। दूसरे शब्दों में, उन्होंने मूल रूप से मुझे पहचान दिलाई। हर कोई उन्हें देखता और उनकी कोरियोग्राफ़ी देखकर यह जानना चाहता था कि इसे किसने तैयार किया है, और तब वे मेरा नाम लेते थे।
speaking with, uh, about the vocal choreography, one of the first groups that I worked with was a group called the Cadillacs, which was uh, an exceptionally talented group. They all moved well and they sort of established Cholly Atkins's style. In other words they basically put me on the map, and everybody would look at them and see their choreography and they wanted to know who did it, so they would tell them.
speaking with, uh, about the vocal choreography, one of the first groups that I worked with was a group called the Cadillacs, which was uh, an exceptionally talented group. They all moved well and they sort of established Cholly Atkins's style. In other words they basically put me on the map, and everybody would look at them and see their choreography and they wanted to know who did it, so they would tell them.
खैर, द सुप्रीम्स के साथ काम करने और मार्था एंड द वेंडेलस तथा द मार्वलेट्स जैसे अन्य गर्ल ग्रुप्स के साथ काम करने में यह फर्क था कि आप गीत की सामग्री को ही खुद तय करने देते थे कि आपको उस समूह, उनकी प्रतिभा और उनके व्यक्तित्व के साथ वास्तव में कैसे काम करना है। ये सारी चीज़ें इस बात में अहम भूमिका निभाती थीं कि सभी समूह अपनी अलग पहचान बनाए रखें। और इसमें गीत की सामग्री की भी बहुत बड़ी भूमिका होती थी।
Well, the difference in working with the Supremes and the other girl groups like Martha and the Vandellas, and the Marvelettes, you let the material dictate to you, uh, really, how you worked with the group, and with the talent, and the personalities. All of these things was instrumental in having all of the groups, uh, retain their own identity. Uh, and, and the material had a lot to do with it, you know.
Well, the difference in working with the Supremes and the other girl groups like Martha and the Vandellas, and the Marvelettes, you let the material dictate to you, uh, really, how you worked with the group, and with the talent, and the personalities. All of these things was instrumental in having all of the groups, uh, retain their own identity. Uh, and, and the material had a lot to do with it, you know.