if I were writing the script for the movie it would go like this. After the hullaballoo instigated by the U.S. television and print media, the ISU realized they needed someone to fall on his sword. Gailhaguet volunteered, in exchange for the promise to be the next ISU president after Cinquanta retired.
Last edited by Mathman; 04-18-2013 at 03:04 PM.
Patrick Chan 4toe3toe3loop
9-second video from John Kerr at SOI practice on Apr 18.
I hope regardless what he does as far as any future skating competitions Plushenko continues to speak his mind. It obviously bothers some people alot when someone speaks the dreaded truth, and it is from one of the most revered and respected individuals in the history of the sport who says it.
Chan's spins are nothing amazing and grossly overscored (just like every department of his skating is overmarked relative to what he produces). Compared to Lambiel, Eldredge, or even Oda or Stojko his spins are nothing. Plushenko in his prime had very good spins, and atleast the level of Chan's. As for interpretation, lol, there is no interpretation in Chan's skating at all. He is extremely weak in that area, what he does never relates to the music, and you might as well play any music in the background as it is just elevator music for him. He does all these transitions and moves but not connected to the music in anyway. Plushenko is light years ahead in that deparment, even when he is just stroking he does it in a way that relates to the music and brings the feeling to the audience and a power and presence to the music and performance. I would love to see the interpretation marks Chan would get if he wore a face mask and was said to be a skater from Lithunia or Mexico instead, especialy when he falls several times.
For those who do care about the criteria for the Choreography component,
Purpose need not require a story. Abstract, formalist purposes are also possible, as well as simply establishing a consistent character or attitude or mood. It should relate to the music in some way, but stories and intimate relation to the music do not always go hand in hand.
Proportion would address issues such as frontloading or backloading, emphasis on jumps over other elements (or the reverse) or of elements over transitions (or the reverse).
Unity could apply to a consistent idea being maintained throughout the program, but it also refers to the continuity of the movement. E.g., a lot of stopping and starting would work against the unity.
Utilization of Personal and Public Space would suffer if the skater doesn't project beyond the limits of his/her own body, or to the spectators beyond the limits of ice surface -- not a problem for either Chan or Plushenko. But also if the performance is projected mainly to the judge's side of the arena, with significantly less attention paid to the opposite sides and the ends of the ice -- which has historically been a weakness of Plushenko's program construction.
Pattern and Ice Coverage refers to patterns of travel around the ice surface -- does the skater make big curves in both directions, as well as smaller curves and straight lines for variety? Surprising changes of direction? Does the skater visit all parts of the ice surface rather than favoring some parts and ignoring others? Are the jumps and spins spread out to various points on the ice or do they tend to be placed the same, often predictable, locations? This is one of Chan's biggest strengths, and not one of Plushenko's.
Phrasing and FormI think Chan and Plushenko are both good at this, although in different ways -- Chan's phrasing tends to be more subtle and Plushenko's more in your face. I'd have to go back and analyze specific programs to see how much is an effect of the program structure and how much of each skater's immediate reactions to the music, which would fall more under the Interpretation component.
Originality of Purpose, Movement, and Design This could include more large-scale originality in terms of music choice, program theme, etc. It could also involve smaller choices such as variations to elements, unusual ways of getting into or out of an element or getting from one point on the ice to another. I think Chan is significantly better at the small-scale originality, and neither of these two guys stand out for me on large-scale originality, though they each have had their moments.
I.e., the judges are looking at a lot of different things in evaluating this component.
I think Plushenko's interpretation of the music tends to be significantly better than his choreography.I don't even want to compare spins and interpretation. Just FOR ONCE watch Plushenko lp from RN.
I thought the behaviour of the commentators/press in that situation was abominable...much like their behaviour at Vancouver, where Hamilton and Bezic spent the entire long program of Plushenko making sarcastic barbs, where the NBC did a very lovely interview with Plushenko that they then cut down and edited with all sorts of shots to make him out as a big evil Soviet villain taking on their sweet innocent All-American Boy, and then there was the disgraceful reporting afterwards where all kinds of "quotes" were made up and attributed to Plushenko; things (like the platinum medal) that he simply didn't say.
I had to do a double-take when you said you can play any background music in Chan's performances, as I was sure you were talking about Plushenko. How the heck does Plushenko relate to the music when he is stroking? He only "interprets" the music at standstills or when he's gliding. I'm sure you consider hip thrusts and frenetic flailing as interpretation, right? I'm sure if you put a mask on Chan's Take Five, La Boheme or Aranjuez you'd certainly be able to tell what program it is. Turn off the music in the first 2 minutes of Plushenko's 2010 Olympic FS and honestly tell me if anyone would be able to tell that it's a tango he's skating to.
I know you hate Chan but when you say things like Plushenko has more musicality or that his spins are on par with Chan, I can't take you seriously. Things Plushenko does do better than Chan is facial expressiveness, commanding the ice and having a presence, projecting to the audience, and jumping consistency (of which, he's the best of all time, IMO). I would love to see the interpretation marks Plushenko would get if he took the jumps out of his program and was said to be a skater from Lithuania or Mexico.
Mountain, molehill. Plushenko congratulated Denis Ten for a great performance and said, hey man, you shoulda won. He said, man, there's something wrong when a guy can fall four times and win the world championship.