Excellent point, Mathman!
Excellent point, Mathman!
True MM, but seriously, if a skater begins to change the choreographer's work to the point where it's not even recognizable, it sort of defeats the purpose of hiring the choreographer in the first place (IMO). If you know what works for you, why not do it yourself...?Originally Posted by Mathman
ITA! Good choreography will help in a competition where no one is hitting all of their jumps cleanly (such as the Men's FS at Worlds), and it is critical if every one is clean, but choreography is not and cannot substitute for a clean program. Look at what happened to Arakawa and Rochette in the final FS at Worlds.Originally Posted by Mathman
Well, of course professionals are better than amateurs -- that's why they're professionals. It would be urealistic to expect any of the current competitors to be able to skate like Brian Boitano or Kurt Browning, certainly not with respect to choreography and musical interpretation. These are folks who were Olympic competitors and world champions years ago and went on from there to get really good, LOL.Originally Posted by tdnuva
In fact, one of the factors that entice skaters to go pro is the opportunity to develop their artistic visions. The eligibles for the most part have all they can manage to stay upright for four or four and a half minutes.
But that's why eligible skating is a sport.
I've never really been a fan of Dean's choreography, even though I loved the way he skated with Jayne. I think he gets alot of credit for his choreography, because he skated to the genius program of Bolero, in Sarejevo. But it was TT's genius that put the choreography together for that program. That's JMO, take it or leave it.
That's true. However, they didn't hesitate to use his name, so they should have used his work. At the very least, they should have made it clear that the program was not his original choreography.Originally Posted by Mathman
I'm surprised Dean's work with Marina Anissina/Gwendal Peizerat hasn't been mentioned yet. I know for fact that their Carmina Burana was choreographed by Dean. (But wasn't Dean the one who choreographed Beethoven's last night FD, which most people hated?) I thought Carmina Burana FD showcased A/P's strengths -it showed them at their best. Their Worlds performance gave me chills.
Are you kidding???? They did not have contact with Tarasova in that period at all. Did you smoke something today?Originally Posted by CzarinaAnya
I'm not sure how many of them dose that. Make it clear that the program was not his choreographer's original choreography. AFAIK, most skaters and their coaches do some modification to the original choreography they were given. So far I diddn't hear any one go ahead saying where and where is not original choreographed.....Originally Posted by SusanBeth
I've heard many good things about this program that Dean choreographed for Abbott (debuted at the Broadmoor Open in June). FYI, Jeremy is competing in the Senior Men's SP at Golden West tomorrow (Friday) around 3 pm -- for more info on this club comp. in LA go to:Originally Posted by brad640
Usually programs are tweaked and that is a commonplace occurance and to be expected. This program was gutted, but Dean's name was still being used.Originally Posted by mzheng
Oh, I see. You saw the original one.Originally Posted by SusanBeth
Sigh. Doubt anybody except the inner team saw it. But if you saw ANY of Dean's program, it's not just a guess that Kwan left out most of the choreography.Originally Posted by mzheng
I used logic. Dean does intricate choreography. Kwan's program had zilch choreography. Therefore, Dean's choreography was not in Kwan's program. I can't say it any plainer than that.Originally Posted by mzheng
What's the fight about? Michelle used the part of Dean's choreography that she liked and reworked what she didn't like. This was consistent with her "lean, mean fighting machine" approach from 2003-2005, leaving behind the "angel floating on a cloud" choreography that marked some of her earlier work.
Now we'll see whether she still has what it takes to put it all together in the Olympic season.