If tango is passion
then it aims transformation.

Transformation uses persuasion. In fact, the woman cannot be treated as an inert substance. She has the abilities and capacities to sabotage, to delay and to dislocate the effect of leading. This gives the man a dynamic dimension of uncertainty. How higher he aims, the greater is the capacity of the woman to neutralize the intervention of the man. It constitutes a serious problem.

So, also for the man it is necessarily that persuasion appears as strategy. For the tanguero, to persuade is to seduce. To persuade is to exert an influence cognitive and affective. To persuade is to influence by word and gesture, it is to seduce the mind and the heart at the same time.
In this direction, tango is true labour. It demands coordination between the mind and the arms, between the mind and the legs and also between the mind and the shoulders. It looks simply physical but this work demands that the person provokes or suppresses the emotions and that he demonstrates an exterior control capable to produce a state of particular spirit in the woman. She needs the feeling that she is taking care of and can move in a pleasant and safe space. This asks deep and integral individuality of the man. Then there are the games of seduction, Casanova and Don Juan.

Like Casanova, a tanguero wants to seduce all the women. Casanova is essentially a being of the pleasure. He likes the pleasure that he provides to the women. However, Casanova is not a strategical seducer, he does not plan, does not calculate. Casanova is a surface being, whose exterior is confused with the interior and whose objective is the present instant.
How Casanova seduces?
In a very simple way: he gives without reserves. If he is possessed, the women feel in it the animal fever. Therefore a casanovense tanguero has little technique of the conquest and the seduction. Its secret is in the sincerity of the desire, in the elementary expression of a gotten passionate nature.
He is not demonic, it remains in the surface; it is the body of them that he wants, not the soul. His relations with the women are really loyal, because they are simply of sexual and sensual order . It does not provoke a catastrophe. It made many happy women and he did not make none of them to be hysterical, none are suicidal or in compleet desperation; its interior balance is not disturbed , it is a conquest without destroying.
However, in tango people like the body to be passional, sin limites. So, we speak of seduction as an instrument of transformation of the other in the context of a dance of passion. Now we have Don Juan.

Don Juan also wants to seduce all the women. He likes to take a walk of a relation to another one and does not like to be motionless. However, far to love them as Casanova, he wants to win them. The women represent a species of challenge, a conquest object, tanguerre.

It is the beauty, before everything, that attracts Don Juan. However, the same beauty that fascinates him, reflects his proper death. So, Don Juan is the capricious one, the corridor, the traveller, the one that is always of departure, he is always in movement. He is not able to be faithful. This would mean defeat, to deliver the weapons to the feet of the enemy, that is the woman. It is necessary to win the woman before being looser. Therefore, contrariamente the Casanova, Don Juan prefers the seduction of women is a Machiavellian pleasure, not so flirteo.

The Donjuanismo is much more a passion of the spirit of that of the instinct. Don Juan elaborates diverse strategies to win its adversaries. In his cold technique, the women start to see in him the proper devil. They detest him with all their passion.

Another important difference between the seducers is the relation with the time.
With Casanova it tends to last, while Dom Juan pledge his energies in enjoying the last moment of the fall of the victim. He pursues an objective in the long run, Casanova lives the instant. Don Juan looks something that is beyond the relation. A vision, only then.

The extremes appear clearly: the exclusion of the seduced person or its conservation in the game. None of the women seduced for Casanova is excluded from the game after an adventure. In contrast, all remain being potential partners for new departures. On the other hand, the game of Don Juan precipitates them for the deepest desperation.
Si supieras...

Inspired by :
Clermont Gauthier et Stéphane Martineau
Figures de séducteurs et séduction en pédagogie.