Oh, just to warn you, in case you are wondering why there are only 8 tags when there are actually 9 people in the Polaroid photo, it is because she didn't bother tagging herself (back row, next to Gabriele Frangipani).
t.a.tarasova: Dear Alyosha! Alexei Nikolayevich! Congratulations! I wish you health! Interest in your profession! Inventiveness! I wish your students charm and victories! Tanyukha, I wish you health and patience! I'm happy, that we live and work contemporaneously. I wish you sping mood. Yours TAT https://www.instagram.com/p/B9eOi_7pbld/ (I think she means his wife, when she writes "Tanyukha")
Have you heard that Mishin’s students are doing a jump-jump, and Plushenko didn’t have transitions? This is utter nonsense, and in this post we will analyze why.
Often in Internet figure skating communities, when discussing the speeches of pupils and pupils of Alexei Mishin from fans, you can hear the opinion that the Professor is twenty years behind the present and could not switch to a new judging system, that he has skaters doing a jump-jump, and that he never had component skaters at all. This stereotype is surprisingly tenacious: it would seem that it’s hindering now, when both modern videos and records of past years are available on the World Wide Web, to revise them and make sure the opposite? I recently watched some of Evgeni Plushenko’s programs from different periods of his long brilliant career and drew attention to how his hands and hands work clearly and his fingers are extended - in a word, you can have a different attitude to which choreography and which programs he performed ,
And then I reviewed the rental of Eugene at the European Championships in Sheffield and that’s how it was. In general, it is useful to review old programs as the audience accumulates experience - you can discover a lot of new things that you did not pay attention to before. And I was bored because I discovered that his programs were made in full accordance with the requirements of the new judiciary, in particular regarding tranches. I tell you what I looked at there in a new light and what I saw.
To begin with, take a short program and carefully look at the part in which the jumps are located. In a short rental, Plushenko did not jump the fourth jump, he performed the 3-3 cascade as the first element. It is noteworthy that the speed cuts are located along the short side, ending in one corner of the skating rink, and the cascade is in the opposite. Why? And because there is a whole block of tranches between them: steps and turns that precede the approach to the Lutz-sheepskin coat - on the left foot three back-inward, three forward-outward, fly back-inward, Choktau forward-inward. And only then, after moving forward, a direct approach to the cascade - cross, fly, cross, hauling.
After the cascade, of course, there is also a speed-gaining section, but the next jump itself, the triple axel, is preceded by a combination of two turns. I must say, if anyone noticed, now such approaches as difficult have become very popular: last season, trixel calls, which consist of two turns - a hook with a hook - and a constriction in front of the ax fly, were included in their programs by Alena Kostornaya, Daniel Grassl , Joon Hwang Cha; Nathan Chen performed a less complex variation of this approach — with two triples — in a free program, and as part of a more complex approach, Yuzuru Hanyu used this combination several years ago.
In an eight-year-old video, Evgeni Plushenko demonstrates that he is slowly starting to enter the arsenal of top skaters: he performs turns on his right leg when entering the triple axel - hook back and forth, hook forward and inside. Compared to the similar most difficult approaches of our time, Eugene does a little easier - he changes his leg with a wide step and back - with the help of a chassis, achieving the same effect of changing the edges as when performing the hauling, and after that it arises to make the transition to forward and jump. After the trixel, the ligaments again, among which are the troika and choktau. Immediately before the triple rittberger, the rittberger triple is performed twice (triple, fly, transition to the right foot) - a solo jump from the steps in the short program, all according to the rules.
If someone thinks that this is Eugene just made the program easier, so everything is so dashing from the steps, then it’s a surprise for you - in front of the four sheepskin coat in Eugene’s free program there are tranches that are very similar to those performed by him in front of the triple lutz in short - also two triples, a fly, Choktau, a cross step, a wide step, a chassis, after a turn - a three, a change of foot, a quadruple with a trip to the three and a bower.
Hello people! Have you seen this? Steps at the entrance to the quadruple, difficult exit from the quadruple. Vestimo, this is the very Mishinsky run-up jump, with stories about which some fans are trying so hard to regale us
The first trixel in an arbitrary program is performed with a simple approach - it stands almost immediately after the fourth, Eugene only manages to rebuild and gain speed - and the rittberger triple in front of the rittberger is also this time alone. But from the same approach, as in the short one - a hook and a hook - a trixel-triple sheepskin cascade is executed. Two triple Lutz - cascade and solo - are preceded by three points, after which the athlete already performs cross, fly, cross and hauling. Salchow in combination - from the troika and mohawk. Dupel without any frills, from the arc, but immediately after the choreo track, without preparation. That is, in fact, all kinds of jumps that were included in the program, Eugene at least once performed from some creative approaches, but just from the steps and did almost everything.
To summarize. Allegations that Mishin was behind the times, stuck in the old judging system, doesn’t know how to use the new one, that his athletes are incompetent, don’t know how to ride, ride a jump-start, and so on is a complete myth. Please - the most famous, iconic student of the Professor, who competed most of his career even before the introduction of the new judging system, which was forced to reorganize along the way, showed us in his programs a very worthy set of tranches and difficult jump approaches even in modern times. It is impressive that he did this work in just a month: at the national championship of that season, his programs had not yet been finalized, the most interesting ligaments were added specifically for speaking at the European Championship. This indicates,