- Joined
- Sep 13, 2010
During this GP series we discussed about British Euro Sport's female commentator's opinion on Map's skating.
Here is a Japanese article titled "Why does Mao insist on 3A?" by Hirono Aoshima, who has been covering figure skating quite a lot.
In its first half she discusses on Mao's skating type, and I think there is truth in it. What do you think? I attach translation below.
http://astand.asahi.com/magazine/wrnational/special/2013121300008.html
Why does Mao Asada insist on triple axel? by Hirono Aoshima
Does Mao Asada's skating really touch people's heart?
Sometimes such a debate took place in coverage sites. There are lots of skaters who charm audience by their skating as Daisuke Takahashi, Akiko Suzuki and Tatsuki Machida in Japan. Of course Mao Asada has unique charm, and lots of people are attracted to the hard working figure of "Mao-chan".
But those are caused by her presence as a national idol and her character. As a performer, is she a first-class?
Skaters such as Takahashi and Suzuki, who have the strong power to attract the audience, not only have height of expression technology, but also are conveying a strong message when they skate.
That's a strong appeal for the audience as "Love me!" or "Look at me!" When human feeling such as like to be the center of attention, can't stand being alone, wants to be loved, outpours, people can't stop love it.
There is a view that Mao Asada totally lacks it. She does not beg others love while skating. About performance, she doesn't need others' evaluation. Once her mother, Masako, when she was still alive, told reporters a story.
"Flattering doesn't work on Mao. Praise doesn't make her so happy."
Masako-san added amusingly,
"It's only me, Mao wants to be praised by."
This makes sense. When Mao was young and started group lessons with her elder sister, Mai, Mao was always saying, "Mon, look at me!" She wanted even a little. She wanted to show even a little bit of progress to her mother. She wanted her mother would look at Mao only, not Mai… That was one of her motivations to improve her skating. It was only one person whom she wanted to watch her, her beloved mom.
That's why even today she doesn’t emit the message "Look at me!", "Love me!" through her skating. Some people feel it lacks something. Others on the contrary might be attracted by the lone idol figure that they can't feel her affection.
"It could be the same as the observer's love style."
There was such opinion. When you love somebody, you perceive the affection from the other, and you grow the feeling of love each other. Through the communication mutual love will be established, such kind of pattern. But love someone who does not even look at you, and you chase the person earnestly. Some will find joy in such type of love.
When the former watches figure skating, will be attracted by the performance of Daisuke Takahashi and Akiko Suzuki. In their performance there is communication with the viewer. On the other hand, the latter type of love people could be strongly moved by Mao Asada's skating which doesn't release anything outside.
In Detroit, Tokyo and Moscow, we were talking over about Mao Asada, and In Fukuoka we came to the Grand Prix Final.
Here is a Japanese article titled "Why does Mao insist on 3A?" by Hirono Aoshima, who has been covering figure skating quite a lot.
In its first half she discusses on Mao's skating type, and I think there is truth in it. What do you think? I attach translation below.
http://astand.asahi.com/magazine/wrnational/special/2013121300008.html
Why does Mao Asada insist on triple axel? by Hirono Aoshima
Does Mao Asada's skating really touch people's heart?
Sometimes such a debate took place in coverage sites. There are lots of skaters who charm audience by their skating as Daisuke Takahashi, Akiko Suzuki and Tatsuki Machida in Japan. Of course Mao Asada has unique charm, and lots of people are attracted to the hard working figure of "Mao-chan".
But those are caused by her presence as a national idol and her character. As a performer, is she a first-class?
Skaters such as Takahashi and Suzuki, who have the strong power to attract the audience, not only have height of expression technology, but also are conveying a strong message when they skate.
That's a strong appeal for the audience as "Love me!" or "Look at me!" When human feeling such as like to be the center of attention, can't stand being alone, wants to be loved, outpours, people can't stop love it.
There is a view that Mao Asada totally lacks it. She does not beg others love while skating. About performance, she doesn't need others' evaluation. Once her mother, Masako, when she was still alive, told reporters a story.
"Flattering doesn't work on Mao. Praise doesn't make her so happy."
Masako-san added amusingly,
"It's only me, Mao wants to be praised by."
This makes sense. When Mao was young and started group lessons with her elder sister, Mai, Mao was always saying, "Mon, look at me!" She wanted even a little. She wanted to show even a little bit of progress to her mother. She wanted her mother would look at Mao only, not Mai… That was one of her motivations to improve her skating. It was only one person whom she wanted to watch her, her beloved mom.
That's why even today she doesn’t emit the message "Look at me!", "Love me!" through her skating. Some people feel it lacks something. Others on the contrary might be attracted by the lone idol figure that they can't feel her affection.
"It could be the same as the observer's love style."
There was such opinion. When you love somebody, you perceive the affection from the other, and you grow the feeling of love each other. Through the communication mutual love will be established, such kind of pattern. But love someone who does not even look at you, and you chase the person earnestly. Some will find joy in such type of love.
When the former watches figure skating, will be attracted by the performance of Daisuke Takahashi and Akiko Suzuki. In their performance there is communication with the viewer. On the other hand, the latter type of love people could be strongly moved by Mao Asada's skating which doesn't release anything outside.
In Detroit, Tokyo and Moscow, we were talking over about Mao Asada, and In Fukuoka we came to the Grand Prix Final.