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  1. #441

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    Thank you so much, iggie!
    Happy for you! Like all this little things Its amazing how supportive Scott is.
    Did Tessa tell to us SD stotyline?

    is it late at night? are you walking in the park? are you inside or are you outside?


    Proud to be VM fan.

  2. #442
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    I think that was just an example of how detailed Jean Marc gets when he's setting the mood, but maybe she did inadvertently let something slip. I love that he even asks "where is the music supposed to be coming from"... it's a good question.

    One thing I appreciated learning was that Jean Marc had a history with them, which I didn't know. I like that their off ice choreographers are those who have really had a hand in teaching them to dance. She said they met him about 10 years ago at a seminar he was giving with his wife, teaching lead and follow (which Scott joked meant teaching Tessa to lead, and Scott to follow ). It's not as close as the relationship with Swan, but it's nice.

    I was also wondering, has Jean Marc spent any time with them on the ice? How does that all work? When they were at his studio, was he teaching them some dance moves which they will figure out how to translate to ice themselves?

  3. #443

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    Quote Originally Posted by pani View Post
    Thank you so much, iggie!
    Happy for you! Like all this little things Its amazing how supportive Scott is.
    Did Tessa tell to us SD stotyline?



    Proud to be VM fan.
    I didn't even think of that. Now you've got me trying to guess (which isn't really working because I don't know many quickstep music). Scott is so amazing, great guy. And I'm very proud to be a V/M fan too. They're just stunning (on and off the ice) and I hope they felt good reading both books iggie put together.
    "They’re everything in a team that we strive to be...they are to me the quintessential ice dance team of our time."~Kaitlyn Weaver

  4. #444
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    Quote Originally Posted by Cherub721 View Post
    I think that was just an example of how detailed Jean Marc gets when he's setting the mood, but maybe she did inadvertently let something slip. I love that he even asks "where is the music supposed to be coming from"... it's a good question.

    One thing I appreciated learning was that Jean Marc had a history with them, which I didn't know. I like that their off ice choreographers are those who have really had a hand in teaching them to dance. She said they met him about 10 years ago at a seminar he was giving with his wife, teaching lead and follow (which Scott joked meant teaching Tessa to lead, and Scott to follow ). It's not as close as the relationship with Swan, but it's nice.

    I was also wondering, has Jean Marc spent any time with them on the ice? How does that all work? When they were at his studio, was he teaching them some dance moves which they will figure out how to translate to ice themselves?

    Cherub, I also like that they have a history with their choreographers. It tells you that they are both heavily involved in the choreo process, otherwise they wouldn't call people they know and have worked with to lend a hand.

    I was wondering the same thing the other day. Interesting indeed.

  5. #445
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    Quote Originally Posted by iggie View Post
    as the tip of my pen hovered over the document i had to sign to acknowledge that i had received my stars on ice pre-show pass, i took the time to read what it said and grinned. i glanced up at the curly haired-air canada centre teller and told her, "this is so cool". she laughed. clearly written on the envelope were the words, "guest of moir".

    a few days before that, i'd arrived home at midnight to find an email from stars on ice, which said that the registration for the toronto meet and greet closed at 5 p.m. i raised my dark eyes and stared out my window, wondering what to do because i wanted to meet tessa and scott. most the time, they're in another country, but on friday, they were going to be in my city, ten rows away, under the spotlight. i refocused and sent a reply to stars on ice, explaining who i was, what i did and why i wanted this chance. "is anything possible?" the next day, an img exec sends me an email saying that his team will leave a pre-show pass for me at the will call booth and "tessa and scott will try to catch up with you then." but as i stood in front of the booth, i was just so surprized to see the pass attributed to scott. i was kind of stuck on the try part. a meeting wasn't exactly guaranteed but with this neat little personal touch, i started to feel like maybe, just maybe it was possible.

    read the rest here.
    Tessa is such a sweetheart

  6. #446
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    Way to go iggie! That was beyond fabulous, thanks so much for sharing. The rice story had me a little misty-eyed as well. People can say what they want about Scott but he just rocks in my books, and probably Tessa's as well.What a sweetheart.

    On a completely selfish note I noticed you quoted me on your blog I suddenly feel veryThanks again iggie! Keep up the great work!

  7. #447

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    Quote Originally Posted by Cherub721 View Post
    I think that was just an example of how detailed Jean Marc gets when he's setting the mood, but maybe she did inadvertently let something slip. I love that he even asks "where is the music supposed to be coming from"... it's a good question.

    One thing I appreciated learning was that Jean Marc had a history with them, which I didn't know. I like that their off ice choreographers are those who have really had a hand in teaching them to dance. She said they met him about 10 years ago at a seminar he was giving with his wife, teaching lead and follow (which Scott joked meant teaching Tessa to lead, and Scott to follow ). It's not as close as the relationship with Swan, but it's nice.

    I was also wondering, has Jean Marc spent any time with them on the ice? How does that all work? When they were at his studio, was he teaching them some dance moves which they will figure out how to translate to ice themselves?
    I dont think Jean Marc worked with T-S on ice. Just in studio.

    Guys. did you know, what Zoueva said to Jeffrey Paul Dore?
    http://www.openkwongdore.com/2013/04...marina-zoueva/

  8. #448
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    Quote Originally Posted by Cherub721 View Post
    I was also wondering, has Jean Marc spent any time with them on the ice? How does that all work? When they were at his studio, was he teaching them some dance moves which they will figure out how to translate to ice themselves?
    In the past, V/M would work with choreographers on the floor, and Marina (or Marina and Igor) would figure out (with Scott and Tessa) how to translate everything on to ice.
    Last edited by sap5; 04-29-2013 at 07:15 PM.

  9. #449
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    Quote Originally Posted by sap5 View Post
    In the past, V/M would work with choreographers on the floor, and Marina (or Marina and Igor) would figure out (with Scott and Tessa) how to translate everything on to ice. The trickiest part of adapting floor dance to ice is to figure out how to make an appealing program while fulfilling ice dance requirements, and that's where someone like Marina would be most helpful.
    I know that in this case, Tessa and Scott went to Montreal to work with Jean Marc, and I don't know if Marina went with them (I have a feeling she did not)... do you know if the other dancers traveled to Canton? I think Grinenko did, IIRC. So would they videotape their rehearsals with Jean Marc, and then bring that to Marina to translate it to the ice?

    It seems to me, that in that system, Jean Marc isn't really choreographing a program per se (because he doesn't know the requirements for competitive ice dance, and it's difficult to choreograph without the sense of glide the ice provides), so it's almost like he's teaching them dance basics and some highlights and a program needs to be built around that. It's not like he can teach them a ballroom step sequence, just, I guess, the proper way to carry yourself in one. And it's V&M, as the dancers, who have to pick up the right way to do the hold, the feel of the dance, etc. Then V&M have to translate that into a program with IJS elements, with Marina and their coaches. Jean Marc can look at twizzles on youtube, and maybe give them some ideas to jazz them up within the character of the dance, and then Marina figures out if they can translate to level 4. Ditto with ideas for lifts.

    I find the whole process very interesting and I have a great respect for V&M if they are working with Jean Marc off-ice in one country and then with Marina on-ice in another country. It would be much easier to have everyone in a room together!

    I assumed, though I don't know for sure, that Jennifer Swan at some point does work with them at the rink. She said they tried a lot of things in the studio that didn't work out on the ice. I wish we could see the practices off ice. I wish they would consider doing an exhibition of their programs in a ballroom or a dance studio. "Stay" would be perfect for that. Winkler & Lohse did an impromptu bit of ballroom once on a talk show and it was a lot of fun.

  10. #450
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    Quote Originally Posted by pani View Post
    I dont think Jean Marc worked with T-S on ice. Just in studio.

    Guys. did you know, what Zoueva said to Jeffrey Paul Dore?
    http://www.openkwongdore.com/2013/04...marina-zoueva/
    You can listen to the podcast here: http://www.openkwongdore.com/category/podcast/

  11. #451

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  12. #452

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    Quote Originally Posted by parapluies View Post
    You can listen to the podcast here: http://www.openkwongdore.com/category/podcast/
    Thank you But now i couldnt listening it, thats why i asked did she said something interetsing about V-M.

  13. #453
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    Quote Originally Posted by Cherub721 View Post
    It seems to me, that in that system, Jean Marc isn't really choreographing a program per se (because he doesn't know the requirements for competitive ice dance, and it's difficult to choreograph without the sense of glide the ice provides), so it's almost like he's teaching them dance basics and some highlights and a program needs to be built around that. It's not like he can teach them a ballroom step sequence, just, I guess, the proper way to carry yourself in one. And it's V&M, as the dancers, who have to pick up the right way to do the hold, the feel of the dance, etc. Then V&M have to translate that into a program with IJS elements, with Marina and their coaches. Jean Marc can look at twizzles on youtube, and maybe give them some ideas to jazz them up within the character of the dance, and then Marina figures out if they can translate to level 4. Ditto with ideas for lifts.
    My impression is that typically, Canton programs were largely choreographed by Igor and Marina, with off-ice choreographers giving the skaters a flavor of the dance -- some highlight moves, a basic feeling of how the dance should be presented, etc. I'm not sure how much of that would have needed to be videotaped, because I'm guessing, maybe outside of D/W's Bollywood OD and the Shibs recent Memoirs of a Geisha program, Marina would already be familiar with most of the dance styles, and the way moves are done on ice would be different from the floor, anyway.

    It sounded like "Carmen" was approached from an entirely different angle, where the majority of the choreography (or ideas behind the choreography) was first done off-ice, and then translated on-ice. That type of approach would be best done if the off-ice choreographer works together with Marina and comes to the rink to see what works and what doesn't. One of Jacquelyn Thayer's articles (I'm sure someone here has the link!) described the difficulties of this approach -- and perhaps suggests the reasons why this approach is not commonly used.

  14. #454

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    Quote Originally Posted by Daniskates93 View Post
    Yay! Thank you so much. Off to view them now.
    "They’re everything in a team that we strive to be...they are to me the quintessential ice dance team of our time."~Kaitlyn Weaver

  15. #455
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    Quote Originally Posted by sap5 View Post
    My impression is that typically, Canton programs were largely choreographed by Igor and Marina, with off-ice choreographers giving the skaters a flavor of the dance -- some highlight moves, a basic feeling of how the dance should be presented, etc. I'm not sure how much of that would have needed to be videotaped, because I'm guessing, maybe outside of D/W's Bollywood OD and the Shibs recent Memoirs of a Geisha program, Marina would already be familiar with most of the dance styles, and the way moves are done on ice would be different from the floor, anyway.
    I think that's right. I always thought, as you say, that the experts come on later to add bits to the dances choreographed by Marina/Igor. Given the timeline for this year, I'm guessing V&M did not have a dance already choreographed with their SD elements before going to Jean Marc to add flair... so they would be learning the "flair" first. But maybe they did a rough sketch of their dance on the ice right after Worlds?

    It sounded like "Carmen" was approached from an entirely different angle, where the majority of the choreography (or ideas behind the choreography) was first done off-ice, and then translated on-ice. That type of approach would be best done if the off-ice choreographer works together with Marina and comes to the rink to see what works and what doesn't. One of Jacquelyn Thayer's articles (I'm sure someone here has the link!) described the difficulties of this approach -- and perhaps suggests the reasons why this approach is not commonly used.
    It was so worth it though. Artistically, anyway.

  16. #456
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    Quote Originally Posted by Cherub721 View Post
    I think that's right. I always thought, as you say, that the experts come on later to add bits to the dances choreographed by Marina/Igor. Given the timeline for this year, I'm guessing V&M did not have a dance already choreographed with their SD elements before going to Jean Marc to add flair... so they would be learning the "flair" first. But maybe they did a rough sketch of their dance on the ice right after Worlds?
    If the product is primarily choreographed by Marina, the off-ice choreographers can come into the process at any time -- and depending on busy schedules, this type of flexibility is probably best. If they come into the process early, then they can help conceive a basic idea, if later, they can work on bits of presentation, etc.

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    I have got the impression ( dont know where) that V&M do a lot of their own interpretation and choreo work. Marina draws the program into a coherent piece of work. I think this could be why they dont want to leave her she allows them the freedom to forge their own destiny. To me that is the reason why their programs are so innovative compared to "they who shall not be named" . They dont need to be pushed but are constantly pushing themselves.

    Maybe one of our VM historians ( Iggie or Cherub) has already catalogued the growth of the Vm twizzle compared to others in the field. I know I saw something recently on this but maybe not covering the whole gamut of their work. If it did forgive me .... I now have the excuse of old age.
    Given that working with Jean Marc and Jennifer would come before Marina. it also gives them a chance to develop the programs in relative privacy.

    Since we know they go home on weekends it is quite likely that they work with Jennifer both in studio and on ice.

  18. #458
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    Quote Originally Posted by pani View Post
    Thank you But now i couldnt listening it, thats why i asked did she said something interetsing about V-M.
    Just got through it. Nothing really that interesting. At one point he basically asks how it's possible to coach both V&M and D&W (paraphrasing here but that's what they were tiptoeing around). You can tell by the tone of her answer she is bored(irritated) of this question and in a nutshell compares it to a parent having more than one child. That they have different talents and she brings out the best of their individual talents. That it's about the joy of skating and with the joy will come rewards.

    Frankly find it all a bit pollyanna because both can skate the joy out of their programs and only one will see the rewards. With that approach it's never her fault if something fails but rather the students.

    It's interesting to hear the guy asking her questions because he still sounds like a student talking to his coach. PJ also seems to have drank the Marina kool-aid


    Most of it was about her life as a skater and coach. I found it a bit hard to follow unfortunately because she still has a very very strong halting monotone accent and the interview is long so I tended to drift. Not a diss in any way, I'm usually good at understanding different accents speaking english. Just an explanation for not really picking up much or giving a good transcript of what she says.

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    Thank you, bmcg! I have impression, I know everything about Zoueva career. And I think she is happy coach, because she could say she don't care about results

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    I know this shows my extreme age, but I would love it if their SD music included some Scott Joplin. I would think his music would fit in beautifully with Finn step.

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