Discussion in 'The Trash Can' started by johndockley92, Mar 27, 2013.
Why bother to comment, then?
So, has Adam announced what he might be working on for a new sp?
Maybe a new programs thread will be started soon...
I don't know what to think. It seemed it would be a perfect fit, but I am somewhat with Jun Y. Nijinsky- like movements are interesting, but I would love the imagery and theme to be taken further. But because it is a very new program, it all might come. I have great faith in Dickson's ability to think through every detail.
I went on a little Adam trip through time, and I still think he was at his most inspired in 2009- 2010 season. Whether because Orser and Wilson "got him", or because of smth. else, but "Livingston Seagull" and Barber LP are so distinctive and feel so right, I just want Adam to get back in that groove.
On a different note- Curry's "Faune" is divine. Breathtaking and heartbreaking. Like most of what he did.
For his time, Debussy was very experimental and challenging though. And I think still is, to a degree, we are just used to the sound. There is so much push/pull between stasis and constant current of sound there. In fact, it's 3- times- experimental material- first as a symbolist Mallarme poem, then as Debussy's symphonic piece, and then as Nijinsky's ballet... It cries out to be unusual.
Wilson, Wilson, Wilson......Adam was his "angel boy".
Yeah, it's probably true that Debussy was regarded as experimental in his time, although Ravel from the same period still sounds very fresh today (not including Bolero) while Debussy sounds more pleasant to our ears.
Of Adam's programs, "Jonathan Livingston Seagull" is also my favorite.
Skating programs are not like baking --- mix all the right ingredients in the right proportions and you get perfect muffins every time. Who knows what makes a memorable program for the ages? We can theorize till the cows come home but in the end it's all about the mysterious "chemistry." What I am really staying is: just because Mr. Dickson stormed back to the limelight with the Eleanor Rigby program for Alex Johnson, it doesn't mean he can make every skater look breathtaking in every program. Viewers adjust your expectations accordingly.
(Besides, as long as Adam is comfortable and happy with this "Afternoon of Faun" program, how much I like it is not important. It's a silly thing to say but it's true.)
Just my opinion.
That's all very true!
Though my faith in Dickson is not based on solely on reinvention of Alex Johnson; he quite often seems to find the lock to that door that unlocks skater's expression. Even leaving Savoie out of it, Jeremy A's Piazzola LP of 2008-9 is one of two of Abbott's favorite programs for me ( the other being "Muse"); his "Captain Blood" with Ross Miner was very much in the direction I feel Ross should be going etc...
But you are so right in that chemistry is a mystery
Love this program for him. But whatever program he uses for next season is not going to be half as important as whether he can land the quad (and both axels). His axels are OK now, but hopefully Aratunian can help him nail down the quad (lutz or sal, or both).
I hope he makes the U.S Olympic team. Wasnt he once thought to be the future of U.S mens skating, and now he seems like yesterdays prodigy almost. I think if he has good programs next year and skates well he will make the team, atleast I hope so.
Rippon mentioned in an interview at Nationals that he was working on the quad toe and Salchow (before his injury and 4CC withdrawal). I heard he tried a few quad toes in practices at Nationals.
Saw this link on Twitter to some photos of his Gardena FS: http://www.figureskatersonline.com/adamrippon/photos/13Gardena/index.html
Oh those pics are nice. He looks very stylish! I bet the program is too, hehe.
The video is linked in this thread if you'd like to watch it.
OK thanks I will watch it now!
You make good points generally, and I don't disagree with the gist of your views. However, I personally feel your statement about Tom "storming back to the limelight with Eleanor Rigby..." is completely beside the point. I personally do not think Tom had to "storm back," since he never went away. And I doubt Tom considers what he does for skaters as having anything at all to do with "being in or out of the limelight." In any case, it's not exactly clear what you mean by that phrasing. Perhaps you mean that Eleanor Rigby is a unique program that really stands out. In that respect, I think Tom might agree with you, since he stated in a recent interview (posted in GSD) that his favorite programs he’s choreographed for skaters are The Mission for Matt Savoie, the Brazilian long program for Ryan Jahnke, Eight Seasons for Jeremy Abbott, Picasso’s Dance short program for Yukina Ota, and Eleanor Rigby for Alex Johnson.
To me one of the more interesting factors in the success of Eleanor Rigby is that Tom is working as both coach and choreographer for Alex Johnson. That makes for a closer kind of connection and a daily give-and-take in developing a program. When Tom does choreography for skaters he is not coaching, a whole host of different factors and dynamics are involved. In Tom’s own words:
Here’s another link re that recent interview with Tom (already posted by Sylvia in GSD): http://everythingfigureskating.com/members/blog/2013/02/20/interview-with-tom-dickson/
From Tom’s comments throughout the interview, it seems no notion of “limelight” figures anywhere in either his personal or his professional life. He seems much more interested in helping skaters develop a balance between artistry and athleticism, with emphasis on the creative performance aspect. And even more so on helping skaters access the motivation needed to bring out who they are onto the ice in a soulful blend of movement and musical interpretation:
Bolded part is definitely true, and not silly to say at all, in my estimation.
It boils back down to Faun for Adam being in an early debut stage, and he’s looking very comfortable with the program. It’ll be interesting to see how it evolves.
aftershocks, maybe you could copy over your initial response to Jun Y above to the Dickson interview thread in GSD and continue the conversation there? (since that part has nothing to do with Rippon's new program)
All I can say is my hats off to aftershocks. You are able to wring meaning out of my words that never even occurred to me.
Never mind my earlier post then.
I think that audience response is another ingredient in that chemistry -- which is often highly influenced by how cleanly a skater performs the program, competition results, and availability on video.
Programs that very few people have ever seen are not going to become memorable programs for the ages, especially if no one else will ever get to see it again after the live performance because it was never captured on any recording medium.
Ditto for programs that were brilliant in conception, and in execution sometimes in practice or in lesser competitions, but that the skater completely bombed when the eyes and cameras of the world were on them.
Also, if a TV network including commentators in one country were rooting against a skater, fans from that skater might be influenced by the commentary to dislike the performance, whereas fans in another country with more sympathetic commentary might consider it a masterpiece.
And of course individual fans have personal preferences as well that might make them perceive mostly weaknesses in a performance they don't think should have beaten their favorites, or adore a program that's objectively nothing special artistically but that produced an exciting result with a strong performance at an important event.
As for my opinion of Rippon's program, I think it's very promising but I'll wait to see how it develops in terms of his expressing a point of view, a specific character for this particular faun on this particular afternoon, before declaring it a masterpiece.
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