And that applies, of course, to our perception of skating performance. To me Yuna is a perfectionist school valedictorian, who draws my respect and, to some extend, emotions, but they are rather on intellectual basis, rather than pure natural and artistic. At the same, a skater who brings my natural, I would say instinctual, therefore purely artistic, emotions is Yulia. The reason I look at it this way is that I can very well define why Yuna's performance affects me, as it comes from intellectual reasoning, but I have no clue why I am drawn to Yulia's performances. It's not youth or innocence, because there are many such performers and I am not really drawn to it.
I think it has to do with art of portraying emotions without even knowing it, being emotional without acting it. I don't know. You see, if I knew it then it would not be truly "universal". The reason that I cannot define is why it's so strong, powerful and irresistible to me. Someone here said that her performance was the only one that got standing ovation at Euros. Because people truly feel it. Not because they can calculate it, but they are truly touched.
Ven argues for an art work to be successful, it must be universally appealing and deeply moving. This is the typical jargon used to romanticizes art beyond plausibility. He frown upon the importance of intellect conceptualisation which are actually the basis to appraise the very quality of contemporary art - let alone it is one of the very same criteria under PCS for which Performance/Execution is appraised - to include intellectual involvement.
Take the most important artists and artwork of today (Banksy, Aiweiwei, Koons, Hirsts, Abramovic, Kapoor, even Kadyinsky to name a few etc) and see just how universally do they share the most emotionally appeal? I'd go as far as to say, if an artist's aim is to create something that is truly universal appealing, and do not take risks and avoid controversy then he has no business of calling himself an artist but a public servant. Following the lowest denominator of public consensus that has little or no artistic value.
The biggest problem of his analysis is he is extremely self involved in his assessment, what he has done is no different than walk into a gallery, point to a piece of work then proceed to rant on about that is NOT how he'd do it - even though he 'like' the artist. Proceed to bombard anyone with how he would have done it with break down of points A-Z for maximum appeal, not realise he'd totally disregard the unique concepts, process, purpose, intentions, context, background knowledge, and it is the artist's vision people want to see.
I would further argue, an art work is not necessarily about what the artist wanted to be, but the context where it is to be delivered and beyond can be an interesting way to assess art. This goes against his view of that every masterwork's intention is meaningful and purposeful, but if you really look at the real master works that are remembered and lauded by the critics, there actually do not have any common denominator. They can be by product of something else more profound or not that has nothing to do with the meaning of which they were originally conceived.
Ultimately interpretation need to be considered with a world view, ideally with background knowledge, insights, looking at the past and into the future, it is not about who's absolutely right or wrong, but what is deemed reasonable, convincing, enlightening and informative. Something I failed to get from his narrow self imposed view that has less to do with the program's core concept or the interpretation but very much on his own interpretation or how he want the program to be for himself.
Seriously... i think alot of these talk are just cold feet by the fans, as everyone have probably their own dream version of they wish the last program for her. People who like their emotions, will want the program to be more emotional, people like her subtlety and nuances want to see more of that, people who like her musicality, want more of that. But really when it comes down in the end, it is her work.
I do think there are massive potentials from I can see, but we are going over old ground here, just wait and see.
Someone calling a poster a moron would be an infraction, would it not? just when you think maybe there is news, someone else is called a hater a moron and that poster lives to post another day?
The same way certain posters like to go from thread to thread and post "Yuna best EVER!!!!" over and over again...I don't mind talking about the programs, the choreography, the music, over and over again because I find it fascinating.
What all of this has to do with skating -- well, I only made the point against someone who argues that snobby intellectual curiosities can be great art. It does not happen like that. Avante-garde artists have small numbers of loyal fans, it's true, but do they gain 90%+ approval and standing ovation for all people? No they do not, because they're work is not sincere to the universal emotions we all share. Instead, the work of avante-garde artistes only plays to psychological constructs ... some group of people who are looking for their pre-determined ideas to be reinforced, and that's the exact opposite of what great art achieves.
Intellectualism in art is in fact appreciated and necessary, don't get me wrong. It's important to always push the boundaries and try new things, and it's cool for artist-to-artist to have a snobby conversation. But intellectualism in art should always be a means to the end, not the end itself. At the end of the line, it's always about the performance and moving the audience.
Contrary to a lot of people, I think Mao's best program, for instance, was Bells of Moscow in 2010. I get tired of the same princess-y happy emotions over and over again in skating. It was nice to see such an aggressive performance that I think best matches Asada's style. Yuna did Gershwin and it was a great contrast, flirty and dramatic, and it was a really great program for Yuna at that time -- but then it's like OK let's move on and see her do something else, you know? And I think she's done a good job of that. I guess that's why now, at the end of her career, I want to see really mature and adult performances from Yuna. So we'll see.
I also think Yuna will give a much better performance at the Olympics, and for the record I happen to like a lot of the choreography in Adios Nonino as well as the entire program in Send in the Clowns.
For me the single fault of Adios Nonino (but a great one) is that it doesn't follow through on setup/payoff. That is what's missing in this work. The climax is not set-up properly.
Using the unedited version, the music goes like this:
1. sad, distressful emotions of the bandoneon build and build
2. they build to a moment of deep despair
3. that despair is released at climax
But in the edited version of the music used for Yuna's program:
1. sad, distressful emotions of the bandoneon build and build
An entire step is skipped, and that's why the program falls flat. At least for me (and I always enjoy watching Yuna skate) ... this program so far is a rare instance where I feel like I'm watching her just go from element to element with some cute poses mimed here and there. It doesn't feel unified, there's no building and building and building and climax and denouement and sense of "WOW That was Amazing!"
In some ways the problem is the music cut. The music builds and builds to a missing section, and then the climax comes sudden and out of nowhere. It gives the program the feeling of "meaninglessness" that some of us have described. However, the music cut cannot be changed, so it's now up to the performer to make the audience feel those emotions that are subconsciously longed for. The performer must build and build the emotion to a very intense moment, and then release that emotion at climax.
Now, Krislite thinks the goal of the performance was to de-emphasize the emotion, but if that was the case, I think the less-emotional post-climax sections of Adios Nonino should have been stressed. Instead, the building despair of the bandoneon was used, and the performance must be true to those parts of the music.