That's fair and reasonable.I think creativity in skating can take more than one form - it can be creativity of movement, of elements (e.g. lifts), of concepts, of presentation, in terms of music chosen and interpreted, and more. Obviously not all fans will value each of these forms of creativity equally - in my case, for instance, I really don't care what sort of pretzel-like position a skater can get herself into during a lift. I am shallow and just want lifts that look pretty.
From my POV, they skated to Enigma, Muse, Linkin Park, and Muse as their last four FDs in a row, and all of them run together for me thematically and choreographically (YMMV of course), so I always found it confounding that they in particular are constantly held up as an example of creativity. Doing that type of FD once or twice, ok, but I felt they found a niche and then plugged away at it year after year, and it could no longer be considered voidy or fresh at that point. But I think you are right that they (and Carron & Jost that season) were the first to use Muse. The alien FD was very reminiscent of G&P's 92 FD. They also had FDs to the Backstreet Boys and Nsync, again strange that someone would choose a boyband theme twice within the space of a few years. I really liked their Matrix. Many other skaters used it in 2004 (Joubert of course, Zaretskis, Zivanonic, Kovalevsky, Ponsero - not all of them used Clubbed to Death IIRC, but Kazakova & Dmitriev had popularized it already)... so yeah, they weren't really copying, it was one of those things where everyone collectively had the same idea. Matrix really isn't my issue though, it's more their last couple of FDs.The Kerrs skated to Muse twice, with different concepts each time. I can't recall anyone skating to Muse in competition before them; correct me if I'm wrong. They skated to Linkin Park, they had that Aliens program, The Last of the Mohicans, and The Matrix when it was still fairly original to skate to it.
ITA with your other post about S&S' Pina - both a fantastic LP in and of itself, and then a standout in a collection of very diverse performances (Bollywood, Cirque, Adagio, Out of Africa, Pink Panther, Russian folk, etc), each one of which reflected the style very well. I've often said they put most ice dancers to shame.
I'd actually go as far as to say that classical ballet is the only strictly defined form of dance and the only form of dance from which you can expect to know what to expect when taking class whether you go take class in Germany, France, the US or anywhere else in the world.
gkelly, thanks for the link.
Last edited by ballettmaus; 06-20-2013 at 02:19 AM.
Naaah. They won't come back. I sure think Gwendal has other things to do
And you would think that someone who hates the CoP would never want to come back and compete under a system that killed ice dancing.You'd think, though, if Gailhauguet approached them before Turin and decided they weren't ready that he'd have asked them for Vancouver in time for them to be ready, or at least as soon as he knew Delobel was pregnant, which was sooner before Vancouver than Sochi is now.
I think Marina was also pregnant before Vancouver...
I don't see an issue with calling something that's rarely been done or, especially in this case, done nearly as well in Ice Dance or skating in general, "original," because the context is original for Ice Dance. I would call Delobel/Schoenfelder's 2006 Mambo SD original, even though the street dance on which it's based has been around for a long while. There's almost no original movement in skating aside from the use of inner and outer edges and that was probably pre-dated by using the edges in skiing; the ability to glide for longer duration and in long arcs and circles is an extension of what dancers have done on solid surfaces for a long time or were aided by mechanical means.
The piece is seventy-five minutes long...[l]ong enough for an idea to be developed, but not so long that one starts to measure the number of seats to the exits with desperation if the thing doesn’t work" -- Marina Harss
Even after the choreographer has died, it is very traditional in ballet for a dancer he taught to teach the next generation of dancers how the choreographer wanted a piece performed. I remember a TV special once showing Baryshnikov teaching anther dancer a Balanchine piece, and he would correct the guy on how to move an arm or the tilt of his head with "Mr. B said..."I don't get what the angst is over re-using material. One of the strengths of the dance world is that except for improv, almost any piece can be performed by different companies, different casts, even different genders, and half the fun is comparing them. (They get paid royalties when pieces are revived, and they can even send someone who is also paid to teach the works without showing up at all.)
I have often thought it sad that skating choreo it treated like a throw-away commodity. Reusing someone else's old program wouldn't really work competitively, but I think it would be really interesting to select some iconic programs and have the choreographer or skaters work with some of today's skaters to recreate it for an exhibition or TV special.
It's all gone quiet
Hope Anissina is training hard