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发表于 2010-3-25 00:32:05
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本帖最后由 alextoalex 于 2010-4-23 03:51 编辑
需要补充说明几点。为了避免过度分析，让我简单地来说明问题。为了真正体会Michael Jackson在TII的艺术风格，你只需要将它和“典型的”早期巡演时的Michael Jackson相比较。对我来说，在不同的巡演中，他的身体动作和不同的元素相对应：水，空气，土地，火。
Bad Tour
在Bad 巡演中，他好像在水上行走，流畅而敏捷。5：44展示的是1987年 Yokohama中 BJ的那一个著名的圆弧形滑动（circle-sliding）
3：45是Wembely的Bad中的一个较少见的向前滑动（forward glide）的动作。
http://www.youtube.com/v/bwcODkE ... r_embedded&fs=1
那都是能让人产生幻觉般的舞步。
Dangerous Tour
在Dangerous巡演中，他如空气一般轻盈。他带着一种芭蕾舞般的感觉，长线条和姿势（long lines and poses）, 优美的从一个动作转换到下一个动作，非常优美，非常干净。看这个Mexico City 1993 (2:56)的“Jam”，他是如何将一个像街舞般的滑步（slide glide ）做得如此“典雅的”。
而这儿Bucharest的SC里（3:45）, 注意在那个hat-point造型前的极快的腿部动作，非常有Astaire的风格。
而且，他是如何离开舞台的？跳起，飞出去的。
HIStory Tour
在HIStory Tour上, 他回到了地面(当然乘着一架宇宙飞船)。舞蹈更朴实，硬线条和如机器人般。他没有追求优雅，而是在发泄愤怒（如通常的更明显）。
看他在Hawaii演出时这个耸肩动作(1:21):
再一次看他在Manila的锁定动作（locks）（ 2:45 至2:50）
他的舞蹈干脆利落，有挑衅性，很有街头舞蹈的风格。
This is It
在TII中, 顽皮认为他要表现的元素是火。这场表演以电场干扰开场（如Ortega在片花中解释的那样), 而或是这样表演的一个很重要的组成 –BI中的夹克将会被点燃，Dirty Diana的床会着火。而且为什么Michael Jackson使用那些炽热的比喻如 simmering和sizzling? 在TII每一个旧的舞步都被给予了额外的电击（或者你也可以称之为新的电颤（electrical twitch）)。
让我们来比较一些相同的舞步，以及他们在TII上是如何不同的。
TWYMMF
TWYMMF at MSG 2001, 0:53 to 1:00
Now this is classic MJ, especially 0:55 to 0:57 – clean, sharp legs, on the beat shoulder pops, slow, well-rounded, gyrating hips.
Now watch 0:53 to 1:00 on TII here
His legs seem to spasm and shuffle unsteadily, barely keeping to the drum snaps, the shoulder pops are jerkier, less pronounced, and seem to just peter out instead of repeating one after the other, and instead of an obviously sexual move such as rotating hips, he does this really quirky bird-like pecking/puppet movement from 1:13 to 1:15. The whole thing is less about doing moves than projecting an urgency that is as naughty as it is raunchy. He’s having fun, with the rhythm, with the song, and with his own crotch-grabbing image.
Smooth Criminal
QUOTE (Richard @ Mar 22 2010, 03:30 PM) *
Do you have anything to say about Jam, SC, Thriller, or Beat It?
Watch SC in Munich 1997 from 2:14 to 2:20.
This is so lyrical, voluptuous, luxuriously effortless, everything done without a hair falling out of place, pure sprezzatura.
On SC on TII, you get a snappier, more raw, rougher kind of poetry. Here it’s not about being lyrical, but being dramatic, more theatrical, with little gestures and ticks and stops and starts. Watch 1:06 to 1:10, the exact same point in the song as in the Munich example
His hands are furiously gesticulating with epileptic fury at some nameless, unseen intruder, and then the little lilting limp he does from 1:12 to 1:14 as if doing an imitation of stalking Annie, and then the ominously reptile-like walk and pointing gesture at 1:18. All more theatre than “pure dance” but it captures perfectly the dark mood of the song. None of these little moves are big “steps” but they’re harder to do, because it’s easy to imitate a dance move, but less easy to embody nervous energy.
It’s as if, as in a scientific equation, he’s changing all his mass and muscles that once executed dance steps into neurons that are channeling pure energy and electrical charge.
WBSS
One final comparison. WBSS Brunei 1996, from 1:37 to 1:42, he does the sidewalk and the arm wave.
Very funky, very street, on the beat.
Now TII, 2:28 to 2:32. Same moves—sidewalk and the arm wave
Sure it’s f.u.n.k.i.e.r. But he’s not sliding on the stage, he’s slithering, serpent-like, seemingly unsteadily, with a herky-jerky precision that I have never seen on any dancer. Just watch that arm wave at 2:30 and how seamlessly it leads to the next one, and then another little twitch of an arm wave. All within less than seconds.
No dancer teacher would ever encourage this kind of a style. My dance instructor always tells me to hit the spots, hit the lines, make it big, and keep it sharp. But MJ’s been there and done that, and he’s gone beyond.
I can only call his style on TII a kind of sloppy perfection, incredibly flexible, maddeningly hard to imitate, and mind-blowingly erotic.
And, eroticism brings me to my final point.
Billie Jean
QUOTE (Jasmine @ Mar 22 2010, 02:51 PM) *
And that famous crotch grab at 0:58 here; it’s not slow motion, it’s breaking the crotch on the beat (as weird as that sounds), it’s like he’s got a thing going with his crotch that controlling the beat and slowing it down.
Can you explain what you mean by this a little further?
On Billie Jean, what I meant was that the drum beat goes on steadily, but his crotch isn’t matching it; it’s moving to a kind of counter-rhythm so that when you watch it it’s two different rhythms happening at the same time, which slows down the moment. Now where else do counter-rhythms happen—making love. Would you want to make love with only one motion? So you move in different rhythms to move to the big moment. And Michael Jackson’s simulated L.O.V.E., where the drum and his body are in a kind of spastic dance of eroticism, uses this rhythmic complexity to add to the hypnotic effect of the moment. |
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