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Yume SEIMEI

Yume

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The perfect example of why talent and work aren't always enough to be successful. You have to be healthy first.

She could have done pretty things if she was healthy. I will miss her beautiful skating and huge jumps.

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hoodie axel 4A<

hoodie axel

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20 minutes ago, PapiandPooh422 said:

I'm guessing you have seen this, hence this sudden comment. :68468287:



 

Well, this, in specific: https://www.goldenskate.com/forum/showthread.php?80934-Interview-with-Daniil-Gleikhengauz

(bolded)

Quote

Q: Which programs are the best in your rating?
A: I probably will not surprise anyone with my choice, because there are really the best programs of our time. I grew up on the programs of Nikolai Morozov for Alexei Yagudin - “Winter”, “The Man in the Iron Mask”. As child I was so impressed by these programs that, going out on the ice, the first thing I did was to replicate the steps and movements from those. The next were the programs of Stephane Lambiel, all fo which I loved madly, I reviewed them many times, I remembered them. Today, when Lambiel became a coach, one can almost always guess when he choreographed a program, so original his choreography is. Another question is that his style not always fits an athlete. Next, I will probably list Patrick Chan, Shoma Uno, Yuzuru Hanyu and, of course, Nathan Chen.

Q: What interests you in Nathan Chen?
A: He used to be criticized for programs in "gain speed then jump" style, but Chen works a lot off the ice and tries to transfer the choreography from the floor to ice, which is not typical for figure skating, because traditionally we are more into ballet. In his programs, I see that he is now introducing a different choreography with various new pieces and findings, and over time he will show us hip-hop and character dances. It can be seen that this will be his style, you just need to give time for it. He is harsh, rhythmic, explosive, no one will expect Romeo and Juliet or lyrical programs from him. He has his own style, he is more groovy, more aggressive, and the more he skates, the more we will see his “me”. I also need to list Javier Fernandez, who ended his brilliant career at the European Championships. His gala program was just incredible. It is so beautifully choreographed, there is so much interesting details in it that you can't take your eyes off him.

Q: It is interesting that you brought an uninterrupted series of examples from the men's single skating. And how are things going in women's skating?
A: I don't even know who to name here. For me, the programs of Yun Kim, Mao Asada, Carolina Kostner always stood out. But it was with the programs of Yulia Lipnitskaya that the so-called “programs with an idea” began. Ilya Averbukh and Eteri Tutberidze made a lot of good programs for Yulia, which differed from those of other athletes. This is not only the "Schindler's List", but also "Megapolis", where she seemed to be running after a kite. And then there were programs for Zhenya Medvedeva, first “I hear, I don’t hear”, then a short program “Farewell to Childhood”, then a program about September 11 and others. These programs stood out against the general background.

The third answer's bolded part especially is incorrect, since the "program with an idea" is not an invention of the Tutberidze camp... He seems to think they invented the concept of "interpretation", or doesn't know what it is in the first place.

 

And in general, he doesn't seem to see the problem with his choreography, that the "ideas" are so overwrought they detract, or often can't even be properly be communicated through the disjointed, gaudy choreography he creates for his students.

 

Quote

Q: At what point you understand that this particular music can create a full-fledged, strong image?
A: Probably, at the moment when, alone, you listen to the music with headphones on and invent an idea, you see a character, a program. But all these ideas must pass the check-control with Eteri Georgievna. If an idea is weak or too strange (sometimes it happens to me), then it will not go through her filter. She can say: “It's great, but without the libretto, no one will understand, how will you explain the program to people?” Then we either correct the idea or refuse it. We make decisions together, because there are no mistakes allowed in this business.

This is also particularly hilarious, to me.

 

It's not all bad an interview. He does discuss how rigid a layout could be for an athlete, and the skills at any age they present, and how they need to have a mutual understanding. But his ideas about the actual choreography seem weird at best. He's a relatively young choreographer, though, so maybe it will change, and he does seem enthusiastic. But, much like a skater, I wonder if he'll improve as long as the judges refuse to score what he creates properly, and he's getting far too much praise for what he does, and hasn't particularly done anything special.

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PapiandPooh422 Mewzuru Nyanyu

PapiandPooh422

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6 minutes ago, hoodie axel said:

Well, this, in specific: https://www.goldenskate.com/forum/showthread.php?80934-Interview-with-Daniil-Gleikhengauz

(bolded)

The third answer's bolded part especially is incorrect, since the "program with an idea" is not an invention of the Tutberidze camp... He seems to think they invented the concept of "interpretation", or doesn't know what it is in the first place.

 

And in general, he doesn't seem to see the problem with his choreography, that the "ideas" are so overwrought they detract, or often can't even be properly be communicated through the disjointed, gaudy choreography he creates for his students.

 

This is also particularly hilarious, to me.

 

It's not all bad an interview. He does discuss how rigid a layout could be for an athlete, and the skills at any age they present, and how they need to have a mutual understanding. But his ideas about the actual choreography seem weird at best. He's a relatively young choreographer, though, so maybe it will change, and he does seem enthusiastic. But, much like a skater, I wonder if he'll improve as long as the judges refuse to score what he creates properly, and he's getting far too much praise for what he does, and hasn't particularly done anything special.

Oh. Now I understand. The last paragraph is what I'm also fearing that will happen since the judges doesn't appreciate (or refuse to appreciate is the better term?) brightly choreographed programs and tends to overscore skaters who does "quads" which we all know are the skaters he does choreography for. He might think he did something great when in fact his choreography is not coherent at all.

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TallyT 4T1Lo3S

TallyT

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1 hour ago, river said:

Voronov just keeps getting left off of things - how seriously are these categories taken? He qualified for the GPF last season but is still only on the reserve team?


I agree.  I mean, he has or has had Eteri as coach which from all the hype you would think would give him a boost, he has been outperforming pretty much all of the younger ones for the last couple of years, but still....

 

(Don't mind me, I like Sergei best of pretty much the whole troop of Russians these days)

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