I've had about 2 hrs of sleep due to being determined to watch this last GPF day in full (more like a night in full in Poland tho
), but I still have skateflake's ask from Golden Spin threads to write some comparisons over seeing Jason's programs live in Grenoble and then at GS, though not in person
and I think this is the time.
I think that the general trajectory of Jason and his programs are quite well, both competitions definitely solidified his SP and showed FS areas of improvement more clearly I feel. Seeing them live and then on my phone via stream provided two different perspectives and two different ways of appreciation.
As for perspectives of watching, a good thing about this over-the-head camera shots at GS was that it showed Jason's coverage, speed, agility over choreography, carriage, posture more clearly and methodicaly, like the general way he moves, which definitely helped to realize how fantastic skater he is and how well his skills are facilitated in both programs. Seeing it live in Grenoble, from more 'ground' perspective, a lot closer physically was more helpful in seeing/understanding his projection, expressiveness of body, gesture, attention to the detail in it, intricacies of his body motion, it was definitely easier to 'click' with his skating AND skating persona created on ice during performances, not just being amazed by the picture of it. GS upper camera shots also showed beautifully Jason's phrasing of music and lyrics by movement and expression, actually in both programs since in Grenoble my impression was that SP was fabulous in that departament while FS was a bit lacking of that definition by motion thing; at GS, in SP I saw again that 'sleek snap' to his movement finishing that was so prominent for me in Grenoble, and that sharp, bold accentuation of lyric/rhythmic layers of the song. I think also thst an overhead camera did a great job to show off how Jason exquisitely transitioned between more languid parts (mainly guitar solos) and sharper ones with lyrics, which moves/elements he used to express both and how he did it. It really confirmed muli-dimensional experience provided by this SP I had in Grenoble and added to my awe over Jason's sublime musicality, sensibility in reflecting different styles. Also, aerial shots provided a great appreciation view on his spins, speed of them, extensions and fluidity in position changes which may have been not that easy to catch sitting on the ground level. In general, taking both outings I feel that Jason got very close to perfection both times - he showed well-rounded, wholesome skating quality in the quantity of skill he possess and kept thst rich, high sophistication level around it; these performances showed also some effects of working with TCC crew: he doses expression and exuberance more deliberately, with more consciousness added to it that is present over every element in choreo, it is less outright flashy and open, more like matured version of total performer Jason is.
As for FS perspectives...while I got convinced in Grenoble that this is a good and prospective vehicle for Jason, GS confirmed that, adding some bits I did not see live. The phrasing through movement foremost and how Jason details these S&G pieces - both parts, lyrical and dynamic, have quite different structure/construction and require different level of care, deliberation and for me Jason does that without making the whole program appearing divided and non-matching. Some folks complain over the first part being a snooze - I get that, but at the same time it really challenges Jason to not make it feel like that: actually, already at Grenoble, I had this welcoming impression of nostalgia and reflectiveness seeing the beginning and how Jason expresses that piece of music, GS perspective added to it that once all jumps will be there, it will do the trick. Aerial camera showed off his lines, extension being reflection of these long notes and subtle cadence of lyrics. The second part is a great contrast - fast, energetic, lively and using that snap in movement, using spins as a form of expression that dynamic guitar, exuberance getting through step sequence which looked super crisp and detailed on footwork at GS stream, even from the distance. The first part is more about thoughfulness, the second about action I feel - and it is more about making simplistic, minimal things work their magic together than forcing some 'high' and hollier than thou artistry kind of thing - and it is a departure from Jason we got to know I think; folks got used to see him being 'glammed up' by choreo, the artistic notion strong in it to ofc use his natural abilities and skills, but also (my opinion) to maybe make up a bit for lack of quads/tech difficulty. Overall, it was a logical thing to do, but it left Jason's image a bit stangnant I feel - now, with this FS, he has a chance to show (and prove) that simpler creation can show off him equally strong and make his features/signature ID as a skater/performer shine even brighter and on their own, not because intricate choreo.
And the second bit about different ways of appreciation I realized between live experience in Grenoble and recent not personal one watching GS - while in Grenoble, I felt everything a bit over-emotional, since this was the first time seeing Jason live and me being a fan and I was more focused on soaking his presence, influence of it, how he engages the audience, emotes, interprets from this close standpoint, not really noticing that much technical intricacies; GS OTOH gave me more 'objective' and distant outlook on what I experienced - it made me appreciate his skill and intensity, quality he presented it with more emphasis on execution side, but feeling the same emotional attachment I felt in Grenoble (which kind of cemented my general view on this 'new' Jason and his materiał being fab). Also, appreciation for his musicality came out different - in Grenoble, it was more about becoming this music, getting that intense unity with it, accentuation of notes by mere flick of his fingers and resonating this deeply within me, just more personal, intimate experience of this aspect in his skating. Watching GS it was more about being amazed by fluidity, continuity and unhurried harmony between his body movement and music from that artistic point of view, how he made it work so effortlessly yet with power and understanding.
As you can see, the post is LONG and thanks for bearing with me
, it is just about these skaters I got deeply attached to like him or Piper and Paul-I can always come up with some new reflection watching them skate for nth time
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