macarrona造句

• Macarrona in English would mean " macaroni or macaroon ".
• Over the years La Macarrona had taught many younger dancers.
• La Macarrona was the stage name of Juana Vargas.
• Juana la Macarrona was able to maintain her dancing career well past sixty.
• A bailaora herself, she turned her gaze to La Macarrona as she danced.
• Mar韆 Vargas, Juana's sister, was the lesser-known dancer Mar韆 La Macarrona.
• Three elders of flamenco dance, La Macarrona, La Malena, and Fernanda Ant鷑ez, were featured.
• To their music the elder maestra Juana la Macarrona danced, including " por alegr韆s ".
• More generally, " Juana la Macarrona " would mean the dancer as a " dandy " of the flamenco arts.
• She was featured as a professional performer, along with Antonio Chac髇, Manuel Torre, Juana la Macarrona, Ram髇 Montoya and others.
• By accounts La Macarrona was " a fireball, her dance full of gypsy temperament . " It is said " her duende was exceptional ."
• After opening in C醖iz ( de Falla's birthplace ), La Macarrona with the " brujas " went on the show's tour of Spain.
• La Macarrona evidently cried, " You are the Queen ! " The audience laughed and cried, encouraging Amaya who kept dancing, her eyes " full of tears ".
• In 1933 and again in 1940, La Macarrona toured with the celebrated stage show " " Las Calles de C醖iz " " ( The Streets of Cadiz ).
• "La Macarrona, flexible como si se hubiera quedado plantada en sus enolvidables diecis閕s a駉s, se hizo una diosa de rito antiguo, lleno de parsimonia y de misterio, que luego recobraba ardor y acelerado ritmo.
• The hush of the audience inspired Carmen and soon " her demons took hold of her .'And, Good Lord, what broke loose there !'La Macarrona and La Malena were on their feet, crying.
• Also featured for flamenco nostalgia were veteran dancers, the stars La Macarrona and three other elder bailaoras, whose " pure flamenco " dance continued to draw " ol閟 " and other cries of appreciation.
• At fourteen he was playing in the " cafes cantantes, " in the heyday of flamenco singing and dancing, for such artists as Antonio de Bilbao, Juan el Estamp韔, La Macarrona and La Camisona in Madrid, Spain.
• The roles they played were brujas ( sorcerers ) . " Las Calles de C醖iz " of 1933 is said to have been " the high point of theatrical flamenco . " In 1940 La Macarrona did this show again, produced by Conchita Piquer.
• La Macarrona " le injert?al baile una antiqu韘ima fuerza emotiva, llena de feminidad y gracia, como en los soleares de su creaci髇 . . . . Y por la cintura, por los brazos, le sub韆 el chorro de la danza . . . ."