I give Kim credit for coming back this year too so that she can earn spots for other Korean skaters for the Olympics. If she can place in the top 2 than two other Korean girls (if they get the TES requirements) can be in Sochi.
Last edited by overedge; 01-06-2013 at 08:49 PM.
Who wants to watch rich people eat pizza? They must have loved that in Bangladesh. - Randy Newman on the 2014 Oscars broadcast
I don't know how much her costume helped but her arms have never been better. Also, tough to tell watching video but her first lutz in the 3/3 combo looked higher than I remember it. Program is not overly ambitious choreographically but it won't need to be for her to have a real shot at winning in London. Nicely done.
Can't say she's lost much starpower in Korea either
Bravo Yuna! Love the spiral and spin positions. Looking forward to seeing this live at Worlds!
Congrats to Yu Na! It seems that her muscles have not lost any memory whatsoever.
To me, the choreography/costume for the LP are bland and she is capable of much better, but I don't think she needs to do anything spectacular to win in London. I love her SP costume though. Hopefully she and her team come up with two incredible and risky programs next year, as she really doesn't have much to lose.
My Korean is pretty bad, but I think in this interview she says that she lost her mind a little bit at the end and did the spin combo from her SP instead of LP at the end.
Excited for Worlds!
YuNa's program was great and she certainly doesn't look like she's missed a day off the ice. Her jumps still floor me; they're so light and seemingly effortless. And yet, her layback spin still makes me cringe. I'm also not sold on the LP choreo yet. She reminds me of Mirai at times in that she's playing for the audience one moment and the next she's pretending she's the only one there. It still needs work before Worlds but she's certainly thrown down the gauntlet. Ladies will be fun to watch.
Technically that was a great program. She did not miss a beat with those elements and her jump technique is outstanding. However choreographically it was rather juniorish and all at one level although some moments worked with the phrasing of the music. Maybe that could be because the program is still being worked in. Although for a skater at that level, whilst it is all very well to say that the choreographer hasn't done a good job, the skater has to invest something of themselves into the performance.
When you are up to your arse in alligators it is difficult to remember you were only meant to be draining the swamp.
I don't think Yu-Na will ever have the "pow" to her performance that Kwan had. This is what held me back over the years from getting into her skating, and while beautiful in Vancouver she still left me feeling flat. Since she won the Olympics though, I feel that there is more life in her performances and she's more elegant and sensitive to the music now. She's able to let herself go in the performance now and I love her footwork sequence, it really shows off how much she's improved in projecting and I also find her skating to be much less stiff. She's also grown up and skates with the maturity of a woman now, and she's commanding the audience more when she skates. I've been converted. I also love the SP, some actual voids in a sea of mcdonalds hamburger programs.
this is the best video, different camera angles of her jumps, with high quality and no commentary
Nothing great was ever achieved without enthusiasm - Ralph Waldo Emerson
I find her SP more interesting than her LP. This time around she seemed fulled invested emotionally in the SP whereas her LP still seems flat. You can tell she was thinking through it. However, I think the performance aspect in Seoul was better than it was in Dortmund. Her jumps are still breathtaking. She hasn't missed a beat technically speaking (with the exceptions of her spins...they could use a little work, especially the layback). I'm glad she's back. I think she will push the other top ladies in terms of technical content and I think they will push her as well, especially when it comes things like choreography and performance.
"If people are looking for guarantees, they should buy appliances at Sears and stay away from human relationships."~Prancer
I have always had a theory that "Someone like you" feels like Wilson's good bye love song to Yuna while paying tribute to their working history/friendship over the years on the assumption Yuna will retire soon, and that would be the end of their competitive days. It is full of forlorn feelings that is intimate, familiar, complex and as intense as lovers goodbyes. His choreography for that program feels like a collage of many of his 'best of' moves to celebrate and paying tribute to their collaborative days. Many moves subsequently came to be known as Wilson-esque signatures that became the de facto choreography vocabulary of the COP era. In that respect, it may feel generic by today's standards due to its familiarity, but they are also what established Wilson's brand. Their contribution towards each other's success cannot be understated. Yuna's sporting and artistic success validates Wilson's COP work, and also vice versa.
Bear in mind, 'generic' moves doesn't always start as 'generic' until someone first establish them. Others follow them. Or them being replicated due to established success. There's a fine line between something described as generic when it is an 'imitation' vs something that is 'classic' when it is being performed by the original team that founded them. Otherwise it is like going to a Prada shop and complain why everything black and boring. Or go to a James Cameron movie and complain there's too much special effects and why the love stories always so cheesy?
I'd argue the middle section 'on my own' does contains certain archetype Wilson/Yuna choreography, but actually it fit the messages of the music well. 'On my Own' is Eponine's internal dialogue about feelings and contemplation about love, hope, loss, regrets, lingers of sweet bitterness; to learn the meaning/value of true love and acceptance of selflessness. The choreography therefore should be without pretension or fuss and at its most intimate natural state; heartfelt and honest. Choreographically, to harness that visceral fortitude Wilson became familiar with Yuna over their years together, he naturally select their classic moves which embodies these biographical qualities that fit the story the best, something he tends to do with his skaters. Perhaps this is why that part reminded programs like "Someone like you" which shares similar biographical qualities. This is not to say the work could not be more original or creative, but it does explain why such an approach has been adapted rather than blame it entirely on complacency.
Yuna's SP and LP tends to directly contrasts every season like Fire and Ice since her El Tango and Lark Ascending days. Just like your appreciation for 'Kiss of the Vampire' program because of its originality, dark sensuality, and risk taking that explored something new and unfamiliar and not yet seen in ladies figure skating. It is also understandable why you'd appreciate the LP less because of its opposite approach. The SP tackles what deemed low art (B-rated Vintage Horror) and reconstructed into a new format to compete with the likes of high art (many classical works written for dance, opera and ballet for example) of which the figure skating worlds tends to celebrate and being more receptive to. It requires far more dramatic, boldness and commitment to stage expressions (just like B movies) to challenge and winning over people's perception and unfamiliarity to make the program work. Balance of subtlety, brashness, nuances, attack, raw emotions, extremism to convey transcension of emotions from human, rebirth to the supernatural while still having enough empathy yet detachment to the plight of the character during the 2 mins 50 sec.
In contrast, Les Miserable took a more traditional approach to musical deconstruction and being more faithful acknowledging the source material. The program is structured almost like an 'Homage to Les Miserable' in in the 4 parts music edit. It fit with a more 'classic' Wilson choreography that acknowledges the tradition of music theater describing the 4 part music. It does so through the costume design, the intros opening and closing music edits like curtain rise and curtain close etc.. It offers a more conservative and faithful approach than the Vampire SP. This is not avant garde art, but paying homage to a much loved classic work.
As a die hard Les Mis fan (I have seen the musical more than 6/7 times at London west end over a decade at both the Palace Theater and the Queen's Theatre - Yes that really is the name of the theater where the musical currently plays ) I really like how they deconstructed the music. It avoided being too abstract or too literal while still keeps the musical fresh yet somewhat familiar. It is a delicate balance and a huge undertaking to trim down a 3 hour 52 songs musical into a 4 minute extravaganza designed for skating while still encompass the epic themes of Les Mis without being too literal. There might have been many intimate portrayal of characters and themes from Les Miserable in the past, but surely none as ambitious or grand as this one?
Given the poor ice conditions and the -4 sub zero temperature environment reported from yesterday, I consider today's performance well executed, superbly controlled and technically brilliant. I was enormously impressed, moved and even stunned at this new personal milestone for Yuna Kim consider she rarely does clean LPs. Artistically she is already head and shoulder above other ladies. With better environment condition and occasion at WC, Yuna can be even more inspired and to bring us an full on emotional epic I know she is capable of. She is already at the top of her game, but at her best, like all greats, she is capable of showcase something beyond the sport - like the height of human potentials, which poignantly is also what Les Miserable about among many other wonderful things.
(blimey.. this post is a bit long. I guess that is what being inspired can do to someone ) ac
Last edited by os168; 01-07-2013 at 04:01 AM.
On my own is only sang by a secondary lead on stage. What other actresses? Insulted? That's a bit extreme. Want a mini death and revolution? Why not throw in a prison sentence and steal a loaf a bread as well? Sound like you are more about nitpicking than anything else. If you read my post, you'd know this is not a mini-retelling of Les Mis at all... sigh!
Not knowing what to do with your arms can be a conditioning thing, too. I noticed that in her sp, her first four elements are all the elements with flight. I can't recall the last time she did that. In the past few years, she's always done her jump combo and solo triple as her first and second elements, but usually she mixed up the rest of the program. This time, it's all in the front. So I'm guessing there are some conditioning issues. If she were a tennis player, the key phrase would be "match tested."
"Puccini cries out for spirals, but really good ones." ~ Dick Button, 1998 Worlds
Who wants to watch rich people eat pizza? They must have loved that in Bangladesh. - Randy Newman on the 2014 Oscars broadcast
Awesome Yu-Na! So glad she's back!
OMG, AWESOME, AWESOME, YOU'RE LOOKING AT A FUTURE 2-TIME OLYMPIC GOLD MEDALIST, AND RIGHTFULLY SO!
As I've said before, I haven't seen this type of calibre of performer since Oksana Baiul, and as far as Ladies Olympic Gold Medalist go throughout history, I'd put Yuna #2 (behind Sonja of course). She has it A-L-L; jumps, beauty, body, artistry, speed, and on & on & on ad infinitum. She's the epitome of what the standard should be, let alone an Olympic Gold Medalist; she combines both technical precision with exquisite presentation. Something that looks so easy put on paper, but a whole other ballgame when it comes to laying it down. Because usually you have either or, but not *both*, that is so rare to have both, truly.
Ah, enough words, let me just say I feel so blessed to be alive to see this. After so many decades of watching figure skating, to finally get one that comes the closest to Sonja, and Oksana.
I'll be cheering her on to win another World Gold, but more importantly to win another Olympic Gold Medal, which she should easily do when she skates like she just did. She alone is the only one that controls her own destiny. Because when she skates clean she should easily win, and rightfully so, whereas all the other women in the world do not, they have to rely on Yuna making a mistake to even come close. Period.