(Sorry this post is a bit long, it s a comparison/appreciation between Yuna’s WC Danse and OGM FS. It ended up so long just because I couldn't stop myself once I got into the 'inspired zone'. Apologies if any points has been covered by the forum already, I am new to this so I guess I am writing this for myself, and all feedback are welcomed.)
I might not be as well versed as most here recounting figure skating history, but i am well aware that Ito is known as the best jumper of all time and probably ever because her amazing 3A and the full sets of triples (Pop Trivia: In Chinese forums Ito’s nickname is called ‘Grandma Ito’, as a sign of respect as the most senior and respected female in the family; and Mao’s nick name is ‘Cat’ because the pronunciation of her English name is same as the word ‘Cat’ in Mandarin. Perhaps it also has to do with her feline supple quality on ice as well. Her name makes her sounding lovable, because well, who doesn’t like a cute cat or a ‘kitten’ esp given her off ice image fits it well). Shizuka is obviously known for her insane Inner Bauer despite her height which is tall for a skater. They are all best at their elements, but for me Yuna is something new, she is a complete package, similar to Michelle was of her era, the consistent, the artistry, a performances that they truly 'own' because it was told in their unique and very individual style.
It is hard to pinpoint Yuna’s best quality as there are many. She may not be the most flexible and point her toes, or have straightest back ballet posture, but she more than make up for it with practice so she was at least be able to match amongst the best in GOE scores. Her own arson of signatures moves, like 3:3, spread eagle / inner bauer onto a 3T or 2A and of course her lay back camel spins can not be repeated by the current sets of Ladies. Mirai tried but failed, she is young and will learn and improve. However you can’t discount Yuna’s innate talent because she was also one of the very few in history that were able join all the transitional together as natural as breathing on ice.
Her efforts at best are natural and invisible; it doesn’t feel like she’s even ‘trying’. This is a huge difference compared to other skaters which you can always tell they are thinking and preparing for whatever big jump next. She can be both fire and/or ice, dark and/or light, depends on whatever the piece is needed. Although she doesn’t have the longevity (yet) with the full breadth and range of performances to consider fully versatile yet, the few she was able perform at her best, they stood head and shoulders amongst the greats. The best contrast can be shown the essence she was able to deliver between her WC Danse and her OGM Gershwin FS.
Her Dance Macabre I’d say is about displaying athleticism and physical prowess while trying to defy the boundaries of physics and gravity in Ladies skating. To do the performance, she must be courageous and fierce to launch herself at maximum warp speed with complete abandonment and any visible efforts of human vulnerability. A spirit has over taken over her body, and put it on autopilot without the Hollywood special effects for 2.5 mins on acid. Other than those ridiculous jumps, look at how her body spun into a posture, then her head follows, spun then freezes, spuns and then freezes. It was as her body was having a life of its own, and her human constricts are merely slowly trying to catch up. It was almost supernatural and defies logic.
Her Gershwin number on the other hand is the exact opposite. It is all about light and serenity. A masterful display of ‘control’ and ‘fluidity’. It was far from a character piece like everyone else’s program. IMHO it feels like a summation of Yuna’s own human accomplishments in skating. The Olympics is the climax of her journey. Her FS is her commentary on the purity of ice skating, and Gershwin was merely a backdrop complimenting her reflection and contemplation on display.
It was as she is taking the judges on walk in central park - nice and easy – while slowly revealing her full sets of repertoires. Just count the number of times she addressed the judges with a different gazes in between each major element. Look for her full sets of definitive expressions and eye contacts.
It was as if she is asking
“Look what I can do.” “Look at what I have become.” “Are you impressed?” “Are you delighted?” “Did you like that?” “Have you seen better? etc
Through out the piece, there were clear junctures that she was able to demonstrate finesse, sophistication, and refinement. It was a case of less is more, quality over quantity. It was decisively elegant, simple, flirty, yet vulnerable and feminine. When she drops her arm, it wasn’t just about letting it fall and onto the next transition, but it is about fine-tuning the speed and the position it falls and how it accentuate to Gershwin’s notes, and punctuate the breaks. At times there implied some invisible elasticity in the other direction holding her upper body on to the next position, but the body is fighting against the motion as it wishes to enjoy ‘the moment’ …just a bit longer while her blade floats across the ice light, fast and dainty.
It was a nice contrast to her Bond program that was designed to be a populist piece, a fan service designed for the Olympics world wide audience, to be the ultimate crowd pleaser. And it worked. Her signature ending poses is famous and even copied by the entire Japanese Team including Mao during their break time.
But oh my, her Gershwin in contrast was so sophisticated it felt somewhat elitist it is almost untouchable.
It felt to truly appreciate it, or earn to appreciate it, you’d have to be some fine sophisticated skinny ladies in full evening Chanel cocktail dresses, adorned with a tres tres chic diamond necklaces which they'd spun around their little finger carelessly, while the other hand holding an ice cold matini peering out from their Manhattan penthouse, preferably with a view overlooking Central park from the upper east side. Her feet dangling a Louboutin leaning against the balcony, while sipping their ice cold drink enjoying a quiet moment of contemplation with a cool glee.
Using the descriptive and specific to persuasively demonstrate the larger metaphors and effects (as well as affects), the microscope that is also telescope.
. Although I fear Mathman will now want to plagiarize your post for his post-graduate endeavors. Make sure you charge him at least Cliff Notes rates :yes: ).
Nothing wrong with that. 
