{"id":56,"date":"2014-07-23T12:26:46","date_gmt":"2014-07-23T10:26:46","guid":{"rendered":"http:\/\/otangu.cz\/?page_id=56"},"modified":"2025-12-29T14:36:55","modified_gmt":"2025-12-29T12:36:55","slug":"slovnik","status":"publish","type":"page","link":"https:\/\/www.otangu.cz\/?page_id=56","title":{"rendered":"Slovn\u00edk"},"content":{"rendered":"

V tomto slovn\u00edku jsou popisov\u00e1ny pozice \u010di \u010dinnosti, u nich\u017e je \u010dasto pot\u0159eba rozli\u0161it, kdo v p\u00e1ru vede (leader\/l\u00eddr) a kdo je veden (follower\/n\u00e1sleduj\u00edc\u00ed). Pro zjednodu\u0161en\u00ed proto n\u011bkdy pou\u017e\u00edv\u00e1me pro vedouc\u00edho<\/em> pojmenov\u00e1n\u00ed rodu mu\u017esk\u00e9ho<\/em> (mu\u017e, tane\u010dn\u00edk, partner) a pro veden\u00e9ho<\/em> pojmenov\u00e1n\u00ed rodu \u017eensk\u00e9ho<\/em> (\u017eena, tane\u010dnice, partnerka), co\u017e nikterak nemus\u00ed odr\u00e1\u017eet zvyky z tane\u010dn\u00ed praxe.
\nSamotn\u00e1 terminologie nem\u016f\u017ee b\u00fdt zcela p\u0159esn\u00e1 \u010di v\u00fdsti\u017en\u00e1, slovn\u00edk je proto sp\u00ed\u0161e orienta\u010dn\u00ed. P\u0159edem d\u011bkujeme za ka\u017ed\u00fd podn\u011bt.<\/p>\n

A<\/a> | B<\/a> | C<\/a> | D<\/a> | E<\/a> | F<\/a> | G<\/a> | L<\/a> | M<\/a> | N<\/a> | O<\/a> | P<\/a> | Q<\/a> | R<\/a> | S<\/a> | T<\/a> | V<\/a> | Z<\/a><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
A<\/strong><\/td>\nAbrazo<\/td>\ntane\u010dn\u00ed objet\u00ed, obejmut\u00ed, dr\u017een\u00ed v p\u00e1ru<\/td>\n<\/tr>\n
Abrazo abierto<\/td>\notev\u0159en\u00e9 dr\u017een\u00ed, partne\u0159i jsou od sebe vzd\u00e1leni (neodkl\u00e1n\u011bj\u00ed se v\u0161ak od sebe) a ka\u017ed\u00fd si p\u0159i tanci ponech\u00e1v\u00e1 kontrolu nad svou pozic\u00ed. Z\u016fst\u00e1v\u00e1 v\u0161ak dostate\u010dn\u00fd kontakt rukama, kter\u00fd umo\u017e\u0148uje komunikaci. Dr\u017een\u00ed typick\u00e9 pro tango salon a tango nuevo<\/td>\n<\/tr>\n
Abrazo cerrado<\/td>\nbl\u00edzk\u00e9 dr\u017een\u00ed, horn\u00ed \u010d\u00e1sti t\u011bl tane\u010dn\u00edk\u016f jsou u sebe bl\u00ed\u017ee ne\u017e jejich boky. P\u00e1r se dot\u00fdk\u00e1 \u010dely, nebo je maj\u00ed velmi bl\u00edzko. Vz\u00e1jemn\u00e1 pozice v oblasti ramen je do p\u00edsmene V. Dr\u017een\u00ed typick\u00e9 pro tango salon a tango nuevo<\/td>\n<\/tr>\n
Adornos<\/td>\nozdoby<\/td>\n<\/tr>\n
Adelante<\/td>\nvp\u0159ed<\/td>\n<\/tr>\n
Agujas<\/td>\nnoha \u0161pi\u010dkou k podlaze (tzv. jehla)<\/td>\n<\/tr>\n
Amagues<\/td>\nzdobn\u00fd prvek, spo\u010d\u00edvaj\u00edc\u00ed v nazna\u010den\u00ed\/p\u0159edst\u00edr\u00e1n\u00ed pohybu, kter\u00fd je vz\u00e1p\u011bt\u00ed sta\u017een. Tedy nap\u0159. nazna\u010den\u00ed kroku jedn\u00edm sm\u011brem a n\u00e1sledn\u00fd p\u0159esun sm\u011brem opa\u010dn\u00fdm. Tento prvek prov\u00e1d\u00ed t\u00e9m\u011b\u0159 v\u017edy leader. T\u00e9\u017e mal\u00fd v\u00fdkop k\u0159\u00ed\u017eem.<\/td>\n<\/tr>\n
Americana<\/td>\nt\u00e9\u017e promen\u00e1da, partne\u0159i kr\u00e1\u010d\u00ed stejn\u00fdm sm\u011brem, vz\u00e1jemn\u00fd postoj p\u0159ipom\u00edn\u00e1 proch\u00e1zku, nohy partner\u016f kr\u00e1\u010d\u00ed zrcadlov\u011b (vnit\u0159n\u00ed spole\u010dn\u011b, vn\u011bj\u0161\u00ed spole\u010dn\u011b)<\/td>\n<\/tr>\n
Apilado (estilo milonguero)<\/td>\nvelmi t\u011bsn\u00e9 dr\u017een\u00ed (apilado je bez voln\u00e9ho m\u00edsta v horn\u00ed \u010d\u00e1sti t\u011bl), partne\u0159i se k sob\u011b nakl\u00e1n\u011bj\u00ed, aby m\u011bli v oblasti nohou dostatek m\u00edsta pro tanec a figury. Pozice typick\u00e1 pro styl milonguero<\/td>\n<\/tr>\n
Arrastre<\/td>\nviz barrida<\/td>\n<\/tr>\n
Arroje<\/td>\ntlak, kter\u00fd iniciuje rotaci<\/td>\n<\/tr>\n
Atr\u00e1s<\/td>\nzp\u011bt, vzad<\/td>\n<\/tr>\n
B<\/strong><\/td>\nBalanceo<\/td>\nviz cadencias<\/td>\n<\/tr>\n
Baldosa<\/td>\n\u0161estikrok (leader pravou vzad, levou krok stranou, pravou vp\u0159ed mimo partnerku, levou vp\u0159ed, pravou krok stranou, p\u0159\u00edsun… je v\u0161ak mo\u017en\u00e9 za\u010d\u00edt v kter\u00e9mkoliv bod\u011b sekvence)<\/td>\n<\/tr>\n
Barrida<\/td>\nposouv\u00e1n\u00ed nohy\/chodidla (partner partnerce, partnerka partnerovi) po zemi, mezi chodidly je lehk\u00fd protitlak (odpor). N\u011bkter\u00e9 \u0161koly u\u010d\u00ed v\u011bdom\u00e9 posouv\u00e1n\u00ed nohy, tj. tlakem leadera na partnerovu nohu, jin\u00e9 veden\u00ed partnerova kroku leadrem a jeho sou\u010dasn\u00e9 n\u00e1sledov\u00e1n\u00ed t\u011bsn\u00fdm p\u0159ilo\u017een\u00edm vlastn\u00ed nohy.<\/td>\n<\/tr>\n
Bicicleta<\/td>\npartne\u0159i se navz\u00e1jem dot\u00fdkaj\u00ed jednou nohou a vykon\u00e1vaj\u00ed nad podlahou spole\u010dn\u00fd kruhov\u00fd pohyb, kter\u00fd p\u0159ipom\u00edn\u00e1 \u0161lap\u00e1n\u00ed na kole<\/td>\n<\/tr>\n
Boleo<\/td>\nt\u00e9\u017e voleo – typicky \u017eensk\u00fd zdobn\u00fd prvek, p\u0159i kter\u00e9m chodidlo partnerky v p\u0159\u00edpad\u011b „vysok\u00e9“ varianty op\u00ed\u0161e ve vzduchu oblouk, p\u0159i\u010dem\u017e kolena z\u016fstanou u sebe, v p\u0159\u00edpad\u011b „n\u00edzk\u00e9“ (daleko vhodn\u011bj\u0161\u00ed na bohat\u011b obsazen\u00e9 milongy) se posune po zemi vzad a zp\u011bt – mezi ob\u011bma variantami je samoz\u0159ejm\u011b \u0159ada mezipoloh. Velmi vhodn\u00fdm m\u00edstem pro prov\u00e1d\u011bn\u00ed vysok\u00fdch bole\u00ed na milonze je roh tane\u010dn\u00ed m\u00edstnosti, kde je nejmen\u0161\u00ed riziko zran\u011bn\u00ed ostr\u00fdm partner\u010din\u00fdm podpatkem okolotan\u010d\u00edc\u00edch, p\u0159\u00edpadn\u011b sed\u00edc\u00edch<\/td>\n<\/tr>\n
C<\/strong><\/td>\nCabeceo<\/td>\nvyzv\u00e1n\u00ed k tanci, z\u00e1kladn\u00ed komunika\u010dn\u00ed n\u00e1stroj na milonze. Mu\u017e vyhled\u00e1v\u00e1 pohledem \u017eenu a pokud p\u0159i st\u0159etu jejich zrak\u016f \u017eena ve vz\u00e1jemn\u00e9m pohledu setrv\u00e1 (tedy o tanec s mu\u017eem stoj\u00ed), mu\u017e pok\u00fdvnut\u00edm hlavy, pohybem hlavy sm\u011brem k tane\u010dn\u00edmu parketu \u010di povyta\u017een\u00edm obo\u010d\u00ed vyzve \u017eenu k tanci. Ta jeho gesto op\u011btuje a t\u00edm iniciuje spole\u010dn\u00fd tanec.<\/td>\n<\/tr>\n
Cadencias<\/td>\nprvek jemn\u00e9ho veden\u00ed pro zm\u011bnu v\u00e1hy na m\u00edst\u011b, pou\u017e\u00edv\u00e1 se nap\u0159. k p\u0159esunu v\u00e1hy partnerky z jedn\u00e9 nohy na druhou (p\u0159e\u0161l\u00e1pnut\u00ed)<\/td>\n<\/tr>\n
Calesita<\/td>\nv p\u0159ekladu koloto\u010d; efektn\u00ed kruhov\u00fd pohyb, p\u0159i kter\u00e9m l\u00eddr obch\u00e1z\u00ed n\u00e1sledovn\u00edka a ot\u00e1\u010d\u00ed s n\u00edm okolo jeho osy<\/td>\n<\/tr>\n
Caminata<\/td>\nkrok, ch\u016fze<\/td>\n<\/tr>\n
Caricias<\/td>\npohlazen\u00ed nohy nohou, partnerka si takto m\u016f\u017ee nap\u0159. pohladit l\u00fdtko elegantn\u00edm spu\u0161t\u011bn\u00edm voln\u00e9 nohy po stojn\u00e9 noze<\/td>\n<\/tr>\n
Cazas<\/td>\nz\u00e1kladn\u00ed \u010d\u00e1st kroku – technika kotn\u00edku ke kotn\u00edku, zn\u00e1m\u00e1 tak\u00e9 jako mezidoba mezi kroky<\/td>\n<\/tr>\n
Contragiro<\/td>\ngiro v opa\u010dn\u00e9m sm\u011bru, viz giro<\/td>\n<\/tr>\n
Contrapaso<\/td>\np\u0159esun v\u00e1hy\/t\u011b\u017ei\u0161t\u011b, slou\u017e\u00edc\u00ed ke zm\u011bn\u011b mezi paraleln\u00edm a crusado syst\u00e9mem ch\u016fze<\/td>\n<\/tr>\n
Corrida<\/td>\nkr\u00e1tk\u00e1 sekvence krok\u016f<\/td>\n<\/tr>\n
Corte<\/td>\np\u0159eru\u0161en\u00ed, zastaven\u00ed v pohybu<\/td>\n<\/tr>\n
Colgadas<\/td>\nto\u010den\u00ed kolem st\u0159edu, tane\u010dn\u00edci jsou od sebe odklon\u011bni<\/td>\n<\/tr>\n
Cortina<\/td>\nkr\u00e1tk\u00e1, \u010dasto \u017e\u00e1nrov\u011b zcela odli\u0161n\u00e1 hudebn\u00ed sekvence (typicky 20-60 vte\u0159in) mezi dv\u011bma tandami na milonze. B\u011bhem cortiny m\u016f\u017ee tane\u010dn\u00edk odv\u00e9st partnerku na jej\u00ed m\u00edsto.<\/td>\n<\/tr>\n
Cruce (Cinco)<\/td>\nk\u0159\u00ed\u017e \u010di tak\u00e9 cross, p\u0159edk\u0159\u00ed\u017een\u00ed (p\u0159edn\u00ed k\u0159\u00ed\u017e) \u010di zak\u0159\u00ed\u017een\u00ed (zadn\u00ed k\u0159\u00ed\u017e) nohou partnerky. Byl p\u0159edstaven na konci 30. let dvac\u00e1t\u00e9ho stolet\u00ed a vedl k v\u00fdrazn\u00e9mu roz\u0161\u00ed\u0159en\u00ed reperto\u00e1ru krok\u016f tanga.<\/td>\n<\/tr>\n
Cruce adelante<\/td>\np\u0159edn\u00ed k\u0159\u00ed\u017e<\/td>\n<\/tr>\n
Cruce atr\u00e1s<\/td>\nzadn\u00ed k\u0159\u00ed\u017e<\/td>\n<\/tr>\n
Cruce forzado<\/td>\nvynucen\u00fd k\u0159\u00ed\u017e – p\u0159edk\u0159\u00ed\u017een\u00ed nohou partnerky vynucen\u00e9 pohybem nohy partnera<\/td>\n<\/tr>\n
Cunita<\/td>\nkol\u00e9bka, houpav\u00fd krok (vp\u0159ed\/vzad \u010di do strany)<\/td>\n<\/tr>\n
D<\/strong><\/td>\nDisociar<\/td>\ndisociace – poloha, ve kter\u00e9 sm\u011b\u0159uj\u00ed trup a boky tane\u010dn\u00edka r\u016fzn\u00fdmi sm\u011bry<\/td>\n<\/tr>\n
Doble<\/td>\nzdvojen\u00ed, opakov\u00e1n\u00ed prvku, kroku…<\/td>\n<\/tr>\n
Doble frente<\/td>\npohyb obou partner\u016f jedn\u00edm sm\u011brem, viz Tango al Reves<\/td>\n<\/tr>\n
E<\/strong><\/td>\nEmpujadita<\/td>\np\u0159esun\/lehk\u00e9 odhozen\u00ed nohy partnerky (st\u00e1le po zemi) nohou leadera za pomoci zastaven\u00e9ho\/p\u0159eru\u0161en\u00e9ho tlaku<\/td>\n<\/tr>\n
Elevacion, Elevaditos<\/td>\nv\u00fdtah – vyzdvi\u017een\u00ed partnerky nad podlahu<\/td>\n<\/tr>\n
Enganche<\/td>\njeden z tane\u010dn\u00edk\u016f nebo oba „zabal\u00ed“ svoji nohu okolo nohy partnera. Kone\u010dn\u00e1 poloha je \u010dasto na chv\u00edli „zmra\u017eena“ v \u010dase<\/td>\n<\/tr>\n
Enrosque<\/td>\noto\u010dka na m\u00edst\u011b (pivot) pomoc\u00ed p\u0159ek\u0159\u00ed\u017een\u00fdch nohou, pohyb p\u0159ipom\u00edn\u00e1 v\u00fdvrtku, \u010dasto zah\u00e1jen „jehlou“ (aguja)<\/td>\n<\/tr>\n
Entrada<\/td>\nvstup\/vchod do figury<\/td>\n<\/tr>\n
Equilibrio<\/td>\nrovnov\u00e1ha<\/td>\n<\/tr>\n
Espejo<\/td>\nkroky nebo ozdobn\u00e9 prvky, vykon\u00e1van\u00e9 zrcadlov\u011b ob\u011bma partnery<\/td>\n<\/tr>\n
F<\/strong><\/td>\nFollower<\/td>\npolovina p\u00e1ru, kter\u00e1 n\u00e1sleduje l\u00eddra<\/td>\n<\/tr>\n
Freeze<\/td>\nzmra\u017een\u00ed\/ustrnut\u00ed pohybu<\/td>\n<\/tr>\n
Friccion<\/td>\nvle\u010den\u00ed partnerky po \u0161pi\u010dk\u00e1ch nohou<\/td>\n<\/tr>\n
G<\/strong><\/td>\nGancho<\/td>\nzah\u00e1knut\u00ed nohy o nohu, noha se o p\u0159ek\u00e1\u017eku ohne v koleni a po dosa\u017een\u00ed konce dr\u00e1hy op\u011bt zp\u011btn\u00fdm pohybem uvoln\u00ed<\/td>\n<\/tr>\n
Girada<\/td>\ndynamicky urychlen\u00e1 oto\u010dka\/pivot<\/td>\n<\/tr>\n
Giro<\/td>\n„to\u010div\u00fd“ krok followera okolo leadra – viz molinete (giro molinete)<\/td>\n<\/tr>\n
Golpecitos<\/td>\nmal\u00e9 poklepy \u0161pi\u010dkou na parket mezi kroky<\/td>\n<\/tr>\n
Golpes<\/td>\npoklepy \u0161pi\u010dkou na parket, doprov\u00e1zen\u00e9 zdvihnut\u00edm podpatku<\/td>\n<\/tr>\n
L<\/strong><\/td>\nLapiz<\/td>\noto\u010dka, noha bez v\u00e1hy \u0161pi\u010dkou opisuje po podlaze oblouk\/kruh<\/td>\n<\/tr>\n
Lateral<\/td>\nbo\u010dn\u00ed, do strany<\/td>\n<\/tr>\n
Leader (l\u00eddr)<\/td>\npolovina p\u00e1ru, kter\u00e1 vede druhou polovinu (followera)<\/td>\n<\/tr>\n
Lustrada<\/td>\nzdobn\u00fd prvek partnerky – „le\u0161t\u011bn\u00ed“ boty o nohu partnera, t\u00e9\u017e pod\u011bkov\u00e1n\u00ed<\/td>\n<\/tr>\n
M<\/strong><\/td>\nMedia luna<\/td>\npolovi\u010dn\u00ed giro, oto\u010dka o 180 st.<\/td>\n<\/tr>\n
Media Vuelta<\/td>\noto\u010dka o 180 st.<\/td>\n<\/tr>\n
Milonga<\/td>\n1. druh tance – jeden z rytm\u016f tanga, do kter\u00e9ho se tan\u010d\u00ed, 2. n\u00e1zev pro spole\u010denskou tane\u010dn\u00ed akci, tan\u010d\u00edrnu<\/td>\n<\/tr>\n
Milonguero<\/td>\ntane\u010dn\u00edk zt\u011bles\u0148uj\u00edc\u00ed podstatu tanga<\/td>\n<\/tr>\n
Milonguera<\/td>\ntane\u010dnice, jej\u00ed\u017e \u017eivot se to\u010d\u00ed kolem tanga a jeho filozofie<\/td>\n<\/tr>\n
Milonguita<\/td>\n1. v\u00fdraz \u010dasto pou\u017e\u00edvan\u00fd jako zdrobn\u011blina slova milonga, 2. \u017eena voln\u011bj\u0161\u00edch mrav\u016f tr\u00e1v\u00edc\u00ed \u010das v tango barech<\/td>\n<\/tr>\n
Mirada<\/td>\nspole\u010dn\u011b s cabeceo z\u00e1kladn\u00ed komunika\u010dn\u00ed n\u00e1stroj na milonze. Jde o zachyt\u00e1v\u00e1n\u00ed pohledu partnera\/partnerky za \u00fa\u010delem vyzv\u00e1n\u00ed k tanci.<\/td>\n<\/tr>\n
Mordida (sanguche, sanguchito)<\/td>\nt\u00e9\u017e \u010desky sendvi\u010d, um\u00edst\u011bn\u00ed obou chodidel partnera z obou stran partner\u010dina chodidla<\/td>\n<\/tr>\n
Molinete (Giro Molinete)<\/td>\nt\u00e9\u017e ml\u00fdnek, figura, p\u0159i kter\u00e9 \u017eena tan\u010d\u00ed kolem mu\u017ee v sekvenci krok\u016f „do strany – vzad – do strany – vp\u0159ed“, p\u0159i\u010dem\u017e je mo\u017en\u00e9 za\u010d\u00edt v libovoln\u00e9 \u010d\u00e1sti. Mu\u017e tvo\u0159\u00ed st\u0159ed ob\u00edh\u00e1n\u00ed a ot\u00e1\u010d\u00ed se v ose na jedn\u00e9\/obou noh\u00e1ch<\/td>\n<\/tr>\n
N<\/strong><\/td>\nNeo-Tango<\/td>\nforma s nov\u011b vyvinutou hudbou, zp\u016fsobem objet\u00ed i figurami. Spojuje v hudb\u011b tradi\u010dn\u00ed tango s modern\u00edmi \u017e\u00e1nry, nap\u0159. elektronickou hudbou, p\u0159i tanci pak tangov\u00e9 kroky na „netangovou“ hudbu<\/td>\n<\/tr>\n
O<\/strong><\/td>\nOcho adelante<\/td>\np\u0159edn\u00ed ocho – partner\u010diny nohy na podlaze opisuj\u00ed „osmi\u010dku“ p\u0159i ch\u016fzi vp\u0159ed<\/td>\n<\/tr>\n
Ocho atr\u00e1s<\/td>\nzadn\u00ed ocho – partner\u010diny nohy na podlaze opisuj\u00ed „osmi\u010dku“ p\u0159i ch\u016fzi vzad<\/td>\n<\/tr>\n
Ocho cortado<\/td>\np\u0159eru\u0161en\u00e9 ocho – n\u00e1hl\u00e1 zm\u011bna sm\u011bru p\u0159i p\u0159edn\u00edm kroku vedouc\u00ed partnerku do k\u0159\u00ed\u017ee<\/td>\n<\/tr>\n
Ocho milonguero<\/td>\nocho bez pivotu – ocha veden\u00e1 a n\u00e1sledovan\u00e1 bez v\u00fdrazn\u00e9ho oto\u010den\u00ed trupu a bok\u016f<\/td>\n<\/tr>\n
P<\/strong><\/td>\nPalanca<\/td>\np\u00e1ka – pohyb, kdy partner pom\u00e1h\u00e1 partnerce p\u0159i v\u00fdskoku\/zvedan\u00e9 figu\u0159e<\/td>\n<\/tr>\n
Parada<\/td>\nzastaven\u00ed – partner zastav\u00ed partner\u010dinu oto\u010dku a um\u00edst\u00ed sv\u00e9 chodidlo k jej\u00edmu<\/td>\n<\/tr>\n
Pareja<\/td>\np\u00e1r v tangu<\/td>\n<\/tr>\n
Pasada<\/td>\nelegantn\u00ed p\u0159ekro\u010den\u00ed nohy partnera. Partnerka zde m\u016f\u017ee vytvo\u0159it r\u016fzn\u00e9 variace, zvednout nohu vysoko \u010di ji dr\u017eet n\u00edzko, ud\u011blat lustradu apod.<\/td>\n<\/tr>\n
Paso<\/td>\nkrok<\/td>\n<\/tr>\n
Paso basico<\/td>\nz\u00e1kladn\u00ed krok – pou\u017e\u00edv\u00e1n zejm\u00e9na pro \u00fa\u010dely v\u00fduky, ale t\u00e9m\u011b\u0159 nikdy tan\u010den jako krok v tangu. Krokov\u00e1 sekvence na osm dob za\u010d\u00ednaj\u00edc\u00ed salidou (1-3): partner\u016fv krok vzad, stranou doleva, vykro\u010den\u00ed vp\u0159ed \u00bb caminata (4): krok vp\u0159ed \u00bb cruce (5): p\u0159edn\u00ed k\u0159\u00ed\u017e partnerky \u00bb resoluci\u00f3n (6-8): partner\u016fv krok vp\u0159ed, stranou doprava, p\u0159ino\u017een\u00ed s p\u0159enesen\u00edm v\u00e1hy<\/td>\n<\/tr>\n
Paso Basico Con Salida Americana<\/td>\n(doble), z\u00e1kladn\u00ed krok s americk\u00fdm zah\u00e1jen\u00edm<\/td>\n<\/tr>\n
Paso Basico Con Salida Atras<\/td>\nz\u00e1kladn\u00ed krok se zah\u00e1jen\u00edm dozadu<\/td>\n<\/tr>\n
Paso Basico Con Salida Comun<\/td>\n(doble), z\u00e1kladn\u00ed krok se zah\u00e1jen\u00edm do strany<\/td>\n<\/tr>\n
Patada<\/td>\nkopnut\u00ed – vykopnut\u00ed nohy mezi partnerovy\/partner\u010diny nohy<\/td>\n<\/tr>\n
Piernazo<\/td>\nvysok\u00e9 ovinut\u00ed nohy – ovinut\u00ed \u010di pohlazen\u00ed partner\u010dinou vysoko zvednutou nohou, kter\u00e1 se tak dotkne partnerova pasu \u010di nohy<\/td>\n<\/tr>\n
Pivot<\/td>\noto\u010dka<\/td>\n<\/tr>\n
Planeo<\/td>\npivot na jedn\u00e9 noze, druh\u00e1 noha je nata\u017een\u00e1 dozadu<\/td>\n<\/tr>\n
Praktika<\/td>\nzaveden\u00e9 pojmenov\u00e1n\u00ed pro tr\u00e9ninkov\u00fd \u010das, slou\u017e\u00ed k procvi\u010den\u00ed a upev\u0148ov\u00e1n\u00ed nabyt\u00fdch v\u011bdomost\u00ed, praktika mohou b\u00fdt neveden\u00e1 nebo veden\u00e1\/asistovan\u00e1 lektorem \u010di zku\u0161en\u011bj\u0161\u00edmi tane\u010dn\u00edky<\/td>\n<\/tr>\n
Praktilonga<\/td>\nt\u00e9\u017e praktikolonga – kombinace praktiky a neform\u00e1ln\u00ed milongy, v\u010detn\u011b tand a v\u00fdm\u011bn partner\u016f<\/td>\n<\/tr>\n
Pulpeadas<\/td>\nov\u00edjen\u00ed a propl\u00e9t\u00e1n\u00ed nohou, zachycen\u00e9 a ov\u00edjen\u00e9 sacady, nesen\u00e1\/nohou nadzdvi\u017een\u00e1 gancha<\/td>\n<\/tr>\n
Q<\/strong><\/td>\nQuebrada<\/td>\nn\u00e1hl\u00e1 zm\u011bna sm\u011bru, p\u0159eto\u010den\u00ed t\u011bla, trhav\u00fd pohyb nebo zastaven\u00ed<\/td>\n<\/tr>\n
R<\/strong><\/td>\nRebotes<\/td>\nzm\u011bna sm\u011bru kroku, odra\u017een\u00ed se, nap\u0159. zm\u011bna sm\u011bru pohybu obou partner\u016f do kroku vzad z kroku vp\u0159ed p\u0159i salida americana<\/td>\n<\/tr>\n
Resoluci\u00f3n<\/td>\nzakon\u010den\u00ed, v\u00fdchod z figury<\/td>\n<\/tr>\n
S<\/strong><\/td>\nSacada<\/td>\nvyt\u011bsn\u011bn\u00ed partner\u010diny nezat\u00ed\u017een\u00e9 nohy um\u00edst\u011bn\u00edm nohy partnera na m\u00edsto t\u00e9to voln\u00e9 nohy<\/td>\n<\/tr>\n
Sacada (entrada)<\/td>\npartnerova noha nahrad\u00ed partner\u010dinu nezat\u00ed\u017eenou nohu na jej\u00ed p\u016fvodn\u00ed pozici, ani\u017e by pohyb partner\u010diny nohy ovlivnila<\/td>\n<\/tr>\n
Sacada (quite)<\/td>\nvyt\u011bsn\u011bn\u00ed partner\u010diny nezat\u00ed\u017een\u00e9 nohy vynucen\u00e9 nohou partnera<\/td>\n<\/tr>\n
Salida<\/td>\n\u00favodn\u00ed \u010d\u00e1st figury, zah\u00e1jen\u00ed tance, vchod<\/td>\n<\/tr>\n
Salida Americana<\/td>\npartner vede ch\u016fzi, p\u0159i kter\u00e9 oba tane\u010dn\u00edci kr\u00e1\u010dej\u00ed vp\u0159ed jedn\u00edm sm\u011brem, viz americana<\/td>\n<\/tr>\n
Salida cruzada<\/td>\npartnerovo vykro\u010den\u00ed levou nohou vp\u0159ed mimo partnerku<\/td>\n<\/tr>\n
Salida simple<\/td>\npartnerovo vykro\u010den\u00ed pravou nohou vp\u0159ed mimo partnerku p\u0159i zna\u010dn\u00e9m nato\u010den\u00ed horn\u00ed \u010d\u00e1sti t\u011bla obou partner\u016f do protism\u011bru<\/td>\n<\/tr>\n
Salto, Saltitos<\/td>\nskoky nebo men\u0161\u00ed skoky\/poskoky<\/td>\n<\/tr>\n
Sandwich<\/td>\nviz mordida<\/td>\n<\/tr>\n
Sentada<\/td>\nfigura, p\u0159i kter\u00e9 \u017eena sed\u00ed na partnerov\u011b kl\u00edn\u011b, boku \u010di pokr\u010den\u00e9 noze<\/td>\n<\/tr>\n
Sistema cruzada<\/td>\nch\u016fze partner\u016f, kdy oba partne\u0159i vykra\u010duj\u00ed stejnou nohou, oba pravou \u010di levou, tedy p\u0159i partnerov\u011b kroku pravou nohou vp\u0159ed jde partnerka pravou nohou vzad<\/td>\n<\/tr>\n
Sistema paralelo<\/td>\nparaleln\u00ed ch\u016fze partner\u016f, kdy partner vykro\u010d\u00ed levou nohou vp\u0159ed a partnerka pravou vzad, d\u00e1le partner pravou vp\u0159ed a partnerka levou vzad<\/td>\n<\/tr>\n
Soltada<\/td>\np\u0159eru\u0161en\u00ed objet\u00ed p\u0159i figur\u00e1ch, kter\u00e9 prov\u00e1d\u00ed jeden z partner\u016f samostatn\u011b (nap\u0159. p\u0159i oto\u010dce)<\/td>\n<\/tr>\n
T<\/strong><\/td>\nTanda<\/td>\nsada nej\u010dast\u011bji 4 \u010di 3 skladeb podobn\u00e9ho stylu, hran\u00e1 na milong\u00e1ch. Jednotliv\u00e9 tandy jsou odd\u011bleny cortinou<\/td>\n<\/tr>\n
Tango al Reves<\/td>\nst\u00ednov\u00e9\/reverzn\u00ed veden\u00ed, t\u011bla partner\u016f sm\u011b\u0159uj\u00ed stejn\u00fdm sm\u011brem, n\u00e1ro\u010dn\u00e9 na veden\u00ed i n\u00e1sledov\u00e1n\u00ed<\/td>\n<\/tr>\n
Tango nuevo<\/td>\n1. term\u00edn ozna\u010duj\u00edc\u00ed nep\u0159etr\u017eit\u00fd v\u00fdvoj tanga od 80. let 20. stol., 2. styl hudby, za jeho\u017e zakladatele je pova\u017eov\u00e1n Astor Piazzola (1955), 3. chybn\u011b t\u00e9\u017e u\u017e\u00edv\u00e1no jako ozna\u010den\u00ed tanen\u010d\u00edho stylu, pro kter\u00fd je charakteristick\u00e1 plynulost pohybu a \u010dast\u00e9 p\u0159eru\u0161en\u00ed objet\u00ed<\/td>\n<\/tr>\n
Tango salon<\/td>\nstyl tanga tan\u010den\u00fd na milong\u00e1ch vyzna\u010duj\u00edc\u00ed se zna\u010dnou variabilitou sp\u00ed\u0161e ne\u017e konkr\u00e9tn\u00edmi prvky\/pozicemi, jde o styl praktikovan\u00fd a spole\u010dn\u011b vytv\u00e1\u0159en\u00fd p\u0159\u00edmo na tane\u010dn\u00edm parketu<\/td>\n<\/tr>\n
Tango milonguero<\/td>\nstyl tanga tan\u010den\u00e9ho ve spole\u010dnosti v t\u011bsn\u00e9m objet\u00ed, kdy lev\u00e1 ruka partnerky obj\u00edm\u00e1 krk partnera a dlan\u00ed se dost\u00e1v\u00e1 a\u017e k jeho lev\u00e9mu rameni. D\u016fraz je kladen sm\u011brem dovnit\u0159, pohyby nohou a pa\u017e\u00ed jsou drobn\u00e9. Styl se vyvinul pro pot\u0159eby p\u0159epln\u011bn\u00e9ho parketu<\/td>\n<\/tr>\n
Tijera<\/td>\nn\u016f\u017eky – mal\u00fd skok se st\u0159ihav\u00fdm pohybem nohou mezi nohami partnera<\/td>\n<\/tr>\n
Toque<\/td>\nkr\u00e1tky dotyk n\u00e1rtu partnera partner\u010dinou nohou<\/td>\n<\/tr>\n
Translado del peso<\/td>\np\u0159enesen\u00ed v\u00e1hy<\/td>\n<\/tr>\n
Traspi\u00e9<\/td>\nmal\u00fd (polovi\u010dn\u00ed) krok stejnou nohou mezi norm\u00e1ln\u00edmi kroky, vlo\u017een\u00fd mezi b\u011b\u017en\u00e9 doby<\/td>\n<\/tr>\n
V<\/strong><\/td>\nVolcadas<\/td>\npohyb mimo osu, p\u0159i kter\u00e9m se partnerka nakl\u00e1n\u00ed sm\u011brem dop\u0159edu a svou volnou nohou ud\u011bl\u00e1 p\u0159edn\u00ed \u010di zadn\u00ed k\u0159\u00ed\u017e \u010di jin\u00e9 ozdobn\u00e9 prvky. V uzav\u0159en\u00e9m objet\u00ed oporu partnerce vytv\u00e1\u0159\u00ed trup partnera, v otev\u0159en\u00e9m i pa\u017ee<\/td>\n<\/tr>\n
Volcada con adorno<\/td>\nbo\u010dn\u00ed volcada – pohyb mimo osu, p\u0159i kter\u00e9m se partnerka nakl\u00e1n\u00ed sm\u011brem dop\u0159edu k boku partnera. Volnou nohou m\u016f\u017ee vytv\u00e1\u0159et ozdobn\u00e9 prvky<\/td>\n<\/tr>\n
Voleo<\/td>\nviz boleo<\/td>\n<\/tr>\n
Voleo adelante<\/td>\np\u0159edn\u00ed boleo – prudk\u00fd pohyb partner\u010diny nohy, veden\u00fd partnerem, p\u0159i kter\u00e9m se partner\u010dina noha zvedne, let\u00ed sm\u011brem do strany a prudce zalom\u00ed se kolem jej\u00ed stojn\u00e9 nohy v p\u0159edn\u00ed \u010d\u00e1sti kolena. Bolea mohou b\u00fdt vysok\u00e1 (alto) \u010di n\u00edzk\u00e1 (bajo)<\/td>\n<\/tr>\n
Voleo atr\u00e1s<\/td>\nzadn\u00ed boleo – prudk\u00fd pohyb partner\u010diny nohy, veden\u00fd partnerem, zah\u00e1jen\u00fd obvykle ze zadn\u00edho ocha, p\u0159i kter\u00e9m se partner\u010dina noha zvedne, let\u00ed sm\u011brem do strany a prudce se zalom\u00ed kolem jej\u00ed stojn\u00e9 nohy vzadu u kolena<\/td>\n<\/tr>\n
Voleo en linea<\/td>\nline\u00e1rn\u00ed pohyb vedouc\u00ed k p\u0159eru\u0161en\u00ed pohybu partner\u010diny nohy ve vzduchu za jej\u00edmi z\u00e1dy<\/td>\n<\/tr>\n
Vueltas (Media Vuelta)<\/td>\noto\u010dka (polovi\u010dn\u00ed oto\u010dka), pou\u017e\u00edv\u00e1 se ke zm\u011bn\u011b sm\u011bru, man\u00e9vrov\u00e1n\u00ed na tane\u010dn\u00edm parketu a jako vstup do mnoha kombinac\u00ed<\/td>\n<\/tr>\n
Z<\/strong><\/td>\nZarandeo<\/td>\not\u00e1\u010den\u00ed bok\u016f, pivot na m\u00edst\u011b<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

V tomto slovn\u00edku jsou popisov\u00e1ny pozice \u010di \u010dinnosti, u nich\u017e je \u010dasto pot\u0159eba rozli\u0161it, kdo v p\u00e1ru vede (leader\/l\u00eddr) a kdo je veden (follower\/n\u00e1sleduj\u00edc\u00ed). Pro zjednodu\u0161en\u00ed proto n\u011bkdy pou\u017e\u00edv\u00e1me pro vedouc\u00edho pojmenov\u00e1n\u00ed rodu mu\u017esk\u00e9ho (mu\u017e, tane\u010dn\u00edk, partner) a pro veden\u00e9ho pojmenov\u00e1n\u00ed rodu \u017eensk\u00e9ho (\u017eena, tane\u010dnice, partnerka), co\u017e nikterak nemus\u00ed odr\u00e1\u017eet zvyky z tane\u010dn\u00ed praxe. Samotn\u00e1…<\/p>\n","protected":false},"author":4,"featured_media":0,"parent":0,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-56","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.otangu.cz\/index.php?rest_route=\/wp\/v2\/pages\/56","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.otangu.cz\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.otangu.cz\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.otangu.cz\/index.php?rest_route=\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.otangu.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=56"}],"version-history":[{"count":135,"href":"https:\/\/www.otangu.cz\/index.php?rest_route=\/wp\/v2\/pages\/56\/revisions"}],"predecessor-version":[{"id":1148,"href":"https:\/\/www.otangu.cz\/index.php?rest_route=\/wp\/v2\/pages\/56\/revisions\/1148"}],"wp:attachment":[{"href":"https:\/\/www.otangu.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=56"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}