- Joined
- Dec 29, 2013
I wanted to see the 'heavy drinker' one the most, but I get a "Link not found" error...
Me too.
Yulia Lipnitskaya
- Thread starter koatcue
- Start date
Me too.
- Joined
- Jan 28, 2014
I know it's a fan thread, but let me say your perfect Julia is not perfect at all. :sarcasm:
First of all, her famous spins are totally overrated, she can't behave properly on press conferences, in the K&C , even in hotel rooms!Finally, she uses to vandalize the ice rinks and is a heavy drinker... :disapp:
That kiss and cry thing was funny.
- Joined
- Nov 30, 2014
- Joined
- Dec 29, 2013
https://33.media.tumblr.com/f3875a9f4867d3b1d39b547beeeac6c2/tumblr_n8dhgv851F1sxkvkuo1_400.gif
Even the most precious of us are guilty:yes:
Even the most precious of us are guilty:yes:
That was like my second attempt at making a fan video. SJID suggested that I play with the velocity and slow down her movements for a video. I just added in the kites and mixed the layout. The music is from her StepSeq in Romeo and Juliet. I noticed while editing it that right when she hits the I-spin in the background one of the arena staff guys looks over at the guy nearest him like :shocked:
Julia5000 is my best video yet though IMO.
https://youtu.be/UJ2Tf9D_dYo
A lot has been made of Yulia's exceptional ability to interpret music. Little has been said about the way she uses shapes to create messages. I suspect this is because she moves so quickly we see only the flow and not the individual poses. There is no better example than in this video https://www.youtube.com/watch?v=0YaVfbMwtO0 at 2:32 . If you freeze the frames, you will see an astonishing shape. The left arm and leg are fully stretched vertically, and the parallel right arm and leg form perfect right angles to them. Now go back and play this at normal speed, and you will realize something even more amazing. She is accomplishing this in the space of maybe 1/4 second, it passes so quickly that we don't even see it. Also, if you listen to the music at this point, it happens exactly at the beginning of the kite theme. a very special musical event that she has represented with a very special shape formed with her body. Shape, music and meaning converge in an instant of great beauty. This is just one example of the hidden ballet that is taking place before our eyes, but we don't see it because it happens so quickly. Anyone interested in the stream of poses that is a Yulia performance can click through the video, pausing the frames as quickly as your finger allows. There are many examples of shape messages.
I mention this because someone might consider creating a video that stops at every one of these impact points while playing through a complete performance. In other words, interrupt the flow when she forms one of the defining shapes. Then your viewers would get a notion of how intricate and expressive her movements are, how she forms statements with her body, and that she is getting no reward for what I regard as a super human achievement. As of now, there is at most a handful of people who are aware of the flow of these instantaneous body shapes and appreciate how expressive they are. A video that shows this would be of great service to Yulia. She has created a stunning body language but speaks so fast that we miss much of what she says.
For anyone interested, this technique is nothing less than that used by a painter when creating a canvas. Painters generally use a few specific shapes which stand out when we look at the painting. It is the duty of the artist to create shapes that grab our attention, first one, then another, so that we are drawn into the painting, gradually appreciating its intricacy and meaning. Yulia does this in every performance. One of her hobbies is drawing. On the ice she draws with her body with great musical sensitivity. Each of her performances is a painting in time, rather than on the space of a canvas.
EDIT: The third paragraph was changed.
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Since I’ve been so busy, I haven’t posted in a long time. But today I was listening to The Master and Margarita - Woland Soundtrack Theme by Igor Kornelyuk, and I think it would be great music for Yulia to skate to in the future. In my opinion, she has really grown up and she could look absolutely great skating to something fierce and “wicked”
Thanks for the suggestion, FIREBIRD. In case you're interested in seeing a recent Russian performance of this, here is a link to the 2015 World Championships LP of Kristina Astakhova and Alexei Rogonov: I find it to be great choreography and an excellent performance to this wonderful music and very powerful story. I definitely share the enthusiasm of the British announcers!
I too would be very interested to see what Yulia would do with Igor Kornelyuk's "The Master and Margarita" - I believe that this would be an almost perfect follow-up to "Schindler's List."
- Joined
- Jan 12, 2015
Try again please (click on my post, not reposts).I wanted to see the 'heavy drinker' one the most, but I get a "Link not found" error...
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- Joined
- Feb 26, 2014
- Joined
- Jan 12, 2015
http://giant.gfycat.com/DirtyTotalAmericancicada.gif
For example:
"Y"- http://giant.gfycat.com/DefiniteExaltedBorderterrier.gif and
http://giant.gfycat.com/OpenAbsoluteGrison.gif
Great stuff, sjid!
http://giant.gfycat.com/DirtyTotalAmericancicada.gif
For example:
"Y"- http://giant.gfycat.com/DefiniteExaltedBorderterrier.gif and
http://giant.gfycat.com/OpenAbsoluteGrison.gif
Great stuff, sjid!
Thank you so very much, witcher. You have helped this clumsy man so much, so often. You are a microscope!
Now that everyone can see what I am talking about, I want to emphasize that this is a super-charged variation of the "reaching for the kite" pose-symbol (where the one hand stretches upward as if holding ((or reaching for)) a kite string, which is the movement she makes at the very beginning of this program). She has placed this pose at a very important and relevant place in the music. It is on the first note of what I call the kite theme. Listen, it is that dreamy, wistful, aria-song sounding theme. She is so incredible. With this pose she shows us the kite theme has returned in the music. It is not a wimpy little representation of her feeling of joy upon its return, it is a burst of joy expressed by a top-conditioned athlete. Just try that one in your well-padded living room, without ice and skates. And this is a really big deal aesthetically, as an expression of feeling. I cannot believe a human being can create these demanding shapes at such speed. (for anyone interested, Wagner was famous for using the same technique of repetitive variation in his operas, the leitmotif, where a few recurring notes are associated with something/someone specific and serve as dramatic reference and add greatly to the dramatic-emotional impact.)
It is totally unfair that she gets no credit, partly because it happens so fast no one sees it. I hope that Marina can help her find a way to freeze these poses within the program so that we and the judges can appreciate them, feel their impact as Yulia already does, and Yulia can receive the praise she deserves for brilliant, inspirational representation of feeling. Maybe Yulia and Marina will find a way, we already see Yulia slower and more coherent with the falling arm motif in the video clip she recently posted in her Instagram. Eteri said that Yulia has unmilited potential. I love Eteri.
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These are more examples. Thank you again. The entire Megapolis can be viewed from the perspective of these motifs. This is Yulia's method, her intention. The second example you have put here is really important. It marks the end of the first statement of the "chaos" music, the music that represents Megapolis. This is one of Yulia's finest creations. We see her bent over on the final notes of "chaos" as if she has been pulled down into the mire that is Megapolis. But one hand is still reaching for the kite (the reaching motif). In this brilliant painting of feeling we see her struggle against the forces that would destroy her spirit, and at the same time we see her stubborn resolve to escape. Yulia is great. Really great. (As I've said before, Megapolis is an existential struggle, and calling it a kite doesn't adequately dignify her struggle--but maybe it is good marketing). I was shocked and upset that she took this wonderful symbol out of all competition performances (you won't find it in China or any of the later performances). I can't think of a reason why it was removed, it carried so much meaning. It was the symbolic bridge between "chaos" and kite.
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This is another fine example of how she develops a motif, in this case the reaching motif that is the foundation of her interpretation of Megapolis. This occurs when the music plays that 4 note sequence (from which most of the Megapolis music is derived, and certainly its drama--Sony also used it as have many many others https://www.youtube.com/watch?v=-s6Mk81NsLE) that we hear at the very beginning of Megapolis. In the case of Megapolis, these four notes of nostalgia-yearning represent looking back to the freedom she lost when she came to Megapolis. Musically, it is like looking back over her shoulder at paradise lost, a memory of her lost diginity. So let's look at the way she presents this nostalgia in movement. We see the reaching hand motif, and she adds to this something very special. On the last of the four notes she also raises her leg, it is the leg version of the reaching motif. So both hand and leg are reaching upward. This is an incredibly touching expression of yearning, of lifting her body into the sky, far away from the earth that contains Megapolis. Here the reaching motif becomes the escape motif (reaching motif and escape motif are related by common shapes, as Wagner's leitmotifs were interrelated by similarities in notes; the message to us is: reaching is the way to escape, they belong together). You will see this leg lift-reaching several times. Most beautiful is toward the end (3:06), where she lifts it coming out of a jump with a broad smile across her lips, her moment of triumph. At that point she actually seems to escape the world physically (the jump followed by upward velocity in a swirling movement and the leg lift). Yulia melts the heart.
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- Joined
- May 6, 2014
I know it's a fan thread, but let me say your perfect Julia is not perfect at all. :sarcasm:
First of all, her famous spins are totally overrated, she can't behave properly on press conferences, in the K&C , even in hotel rooms!
Oh, man you made my day!
- Joined
- Jan 12, 2015
Wow sjid.
I couldn't figure that pose out - is it some kind of obeisance (to whom?), just an embellishment or what? You got it perfectly right, sir. She is struggling, fighting, being pulled down, but still holding on to her dream/freedom. What a brilliant element!
- Joined
- Feb 13, 2014
It's a well-choreographed program. Too bad Averbuhk isn't a better personality.Wow sjid.
I couldn't figure that pose out - is it some kind of obeisance (to whom?), just an embellishment or what? You got it perfectly right, sir. She is struggling, fighting, being pulled down, but still holding on to her dream/freedom. What a brilliant element!
- Joined
- Jan 12, 2015
Pretty much... :scowl:
Meoima, Please read the following excerpt from the Vaytsekhovskaya (EV) interview with Ilya (IA):
EV: How badly do you have to adjust yourself to a skater you are working with?
IA: The most interesting work was with Elena Radionova. She feels the music so well and sometimes would add some great gestures which integrated perfectly into the programme. It's much harder when the skaters says `I need my arms to go this way, my head that way and am going to skate this direction'. There is no room left for creativity, as you can imagine. A lot depends on the coach as well. For example working with Lipnitskaya it wasn't her I was choreographing for, but Tutberidze, so she would understand what I mean to do, so she would like it. Just that the skater is not always willing to take orders, just like Julia. But what can you do?
With these words Ilya tells us he had no use for Yulia's upper-body work. He says he found Yulia's upper body work to be anti-creative. For him Yulia was a head-strong girl who would not take orders, who would insist, "I need my arms to go this way, my head that way and am going to skate this direction." He prefers Radionova, who added touches here and there, a few embellishments to enhance his program. Eventually he gave up on Yula so he choreographed for Eteri, hoping Eteri would intercede (which didn't happen). Essentially, he confesses that he could not work with Yulia because he did not respect her efforts regarding upper body movement, and she would not let go of her method in favor of his. It's that two artists problem, where they get nowhere when attempting to work together. Remember also, Eteri said upper body movement is Yulia's creation, it is very special to her. She will take suggestions, but she decides. Upper body movement is the heart of Yulia's method of self-expression, it is a major reason why she skates. It is the only reason I watch her. Almost nothing of what I have been talking about came from Ilya.
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Thanks for the link! And yes, I completely agree, it would be a perfect follow-up to "Schindler's List." Although they deal with entirely different concepts, both musical pieces are extremely powerful. :thumbsup:
Wow sjid.
I couldn't figure that pose out - is it some kind of obeisance (to whom?), just an embellishment or what? You got it perfectly right, sir. She is struggling, fighting, being pulled down, but still holding on to her dream/freedom. What a brilliant element!
Megapolis is music that represents the conflict between our natural impulse to be free spirits and the demands of society to conform. This pose could be thought of as obeisance to social demands rather than to any specific individual. I saw it more as "struggling, fighting, being pulled down, but still holding on to her dream/freedom" (excellent description of my perspective, thank you). Not as bowing, but as being sucked in and broken. It is the outcome/result of the violent struggle that began in earnest at 1:43. Of course Yulia refuses to obey.
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