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Запись выступлений Жени на Чемпионате Европы 2012 в Шеффилде - разрешение 1280х720 пикселей с телеканала EuroSport HD

Большое спасибо, annaweir1

[cekoni]

... eyelashes...

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I dont remember this article

Была.
viewtopic.php?f=15&t=304&start=780

[cekoni]

I dont remember this article

Была.
http://evgeni-plushenko.com/forum/viewt ... &start=780

Sorry

[cekoni]

After the European Championships, 嗷嗷嗷, who is a very knowledgeable fan at Plushy's Chinese fan club (his "tieba"), wrote a great technical element-by-element analysis of his SP and LP performances at the Euros. With her kind permission and help, I have translated it it to English, since I found it both really wonderful to read, and very helpful as well. I hope people here find it enjoyable!

Plushy's 2012 Euros Programs: a Technical Analysis
http://tieba.baidu.com/p/1392742043
by 嗷嗷嗷

Frankly, I was close to tears watching Plushy's free skate at the Euros. There were so many feelings....Well, I won't say much about it now, since I imagine all Plushy fans have felt all those different feelings. I'll just get down to analyzing the programs....

Technical elements, European Championships:

SP：

1. 3Lz+3T: It's been a long time since we've seen Plushy do this combination jump, since usually he adds the 3T after his 4T or 3A. This is not a difficult element for him, although he had some problems with his 3Lz earlier this season. This combination jump was solidly executed: Plushy used the preceding steps that he usually uses for the solo 3Lz in his SP, the rhythm of the combination was good. The jumps were poised and steady, and both the height and the distance were quite nice.

2. 3A: One of Plushy's signature jumps. If it weren't for the fact that a solo axel jump is required in the SP, I'd have said that his 3A+3T combination would have been more consistent than any other triple jump followed by a 3T. This particular 3A is another example of his usual high quality, with an easy and powerful take-off, great height, superb flow, and a perfectly clean landing.

3. 3Lo with steps entrance: The execution of this was normal, except for a slight unsteadiness upon the landing, and everything else was good.

4. Sit spin with change of foot, level 3: This had a difficult variation with free leg to the side before the foot change, 8 revolutions, and a difficult variation with the free leg in front after the foot change. It's seems that he originally wanted to do the foot change with a jump, but didn't quite make it, so the spin only satisfied three of the level features. Actually, this sit spin is better than I had expected. Plushy learned new spin positions this season: it is truly admirable that at his age, he is still trying hard to adjust himself to the new rules. This particular sit spin was well-centered and fairly fast, with a slight decrease in speed toward the end, and the positions were well-sustained.

5. Flying camel spin, level 3: with a difficult variation of flying entrance, 8 revolutions in camel spin position, and the doughnut spin as a difficult variation. There was supposed to be also a back catch-foot position, which would have been another difficult variation, but he didn't manage to hold this for more than one revolution. If' he'd held it for 2 or more revolutions, this would have become a level 4 spin. Because the camel spin has the largest radius among all spin positions, it is by necessity the slowest. For the doughnut spin, although his flexibility is no longer comparable to what it was in the past, the requirement is satisfied as long as the position is there. Overall, the speed and positions of this spin were good, but the center of gravity was not quite perfectly maintained.

6. Straight-line footwork sequence, level 3: Generally speaking, Plushy has the ability to do level 4 footwork sequences, but he can also complete level 3 sequences without expending too much energy and physical stamina, so this is a better deal for him. There is absolutely no problem rating this particular sequence at level 3: it contained a rich variety of different types of turns and steps, the changes of directions were balanced, and the edge usage was very crisp and clean. The movements fitted the music superbly, and the expression of emotions was strong and full.

7. Combination spin with change of foot, level 3: This had an edge change before the change of foot, a difficult variation with the free leg in front, and three basic positions both before and after the foot change. This spin was well-centered and good positions. The speed was good before the foot change, and slightly slower after, which could be due to stamina issues, as this was the last element in the program.


LP：

1. 4T: I really never expected that he would go for the quad anyway....I don't know what to say. This was a great quad, 3 preceding strokes for acceleration, a powerful and unhesitant take-off, superior height and distance. At the landing, there was a tiny bit of shakiness, but it was instantly controlled, and there was beautiful extension upon the exit.

2. 3A: No need to say more, executed with superior quality as always. I think he jumps 3As with as much ease and aplomb as many other skaters jump 2As.

3. 3Lo: This was a better 3Lo than the one in the SP, with the same take-off, but the air position, as well as the steadiness and flow of the landing and the exit were all better.

4. 3A+3T: A super dazzling jump, with two very difficult moves for the entrance: a rocker turn followed by a counter turn. The 3A itself was high and light as a feather, and the rhythm of the combination was flawless. He controlled his air position and center of gravity like a cat: graceful and flowing. If it weren't for a slight decrease in the height of the second jump, this would have been a perfect jump deserving of +3 GOE.

5. Flying sit spin, level 4: This has a difficult variation of flying entry, a difficult variation with the free leg to the side, 8 revolutions, another difficult variation with the free leg to the back: four level features in all. This was a pretty good spin, very well-centered, with well-maintained positions and fast speed: so the whole spin was of of a high quality.

6. 3Lz+2T+2Lo: With preceding steps. The first jump was nice, although the landing was not perfect. However, he had it under control right away, so it did not affect the two less difficult jumps that followed. Actually, it is not usual to see a 322 combination jump from Plushy, in fact it was pretty much unseen before this season. This one is basically normal.

7. 3Lz: Also with preceding steps, and decent height and distance. The landing still had a small wobble, with the center of gravity a little too much forward. It seems that there were some small problems with all the 3Lzs this season, except for the one in the Euros SP.

8. Circular footwork sequence, level 3: Like the footwork sequence in the SP, here he did not do the footwork on one foot only over a long-distance, as the new rules now use as a level feature, but still used the kind of choreography similar as in the Olympic season, in order to satisfy the requirements needed for level 3 footwork--requirements on the types, directions and quantity of turns and steps. At the same time, he used his upper body well. There was also high-quality edge usage, and a good match to the music.

9: 3S+2A jump sequence: This season was the first time we saw a 3S+2A jump sequence from Plushy. This one had good rhythm. The first jump was quite nice and of high quality; the landing of the second jump wasn't the best, as the toe pick scratched the ice.

10. Camel spin, level 4: With entrance on an back edge, 8 revolutions in the camel spin position, a doughnut spin difficult variation, and a back catch-foot difficult variation: four level features in all. I can only say that this spin is well-centered, with average speed, and the positions were maintained well though not with perfect ease.

11. Straight-line footwork sequence: This sequence is un-levelled, so the details of the footwork here are not hugely complicated. Instead, the focus was on the speed and power, with small jumps woven in and strong body movements, so that the entire sequence was passionate and extremely expressive.

12. 2A: A normal 2A. As the final jump in the program, it was performed effortlessly, and was of high quality.

13. Combination spin with change of foot, level 3: This had the same choreography as the change foot combination spin in the SP, and the quality of execution was similar, too.

Overall, at the Euros Plushy completed the technical elements better than he did at the Russian Nationals. The 4T at the Euros is cleaner and better than both of the 4Ts at the Russian nationals. He landed all of his 3Lzs smoothly here, whereas there were problems with the ones at RN. The 3S+2A jump sequence, too, was improved over the RN one in terms of rhythm. Also, his speed was faster at the Euros, the programs flowed well, and the performances were just generally better.


PCS：

I won't discuss the SP and the LP separately here. After all, when it comes to something like PCS, I really am completely uncertain that I'm able to understand it according to the so-called rules, LOL

SS: Many people have analyzed Plushys skating skills before. I can only say that this is absolutely one of Plushy's strengths. It has always been so, and is so now. Plushy's skating style is somewhat similar to that of Mao Asada, efficient and well-considered in how he uses the edges. The speed and forcefulness may not appear so strong, rather, there is simply a feeling of "floating" on ice. It's rare to see Plushy constantly doing crossovers: even when he's jumping 4Ts and 3As, usually he only takes 3 or 4 strokes to get to the speed he needs, and he is effective at maintaining his speed. Further, Plushy also does well in ice coverage, balance of directions, balance of edge usage and the proportion of one-foot gliding.

TR: Both of the programs this season are much improved over the programs of the Olympic season in this aspect. Basically, except for the 4T, before every jump there was either a difficult entry or a tight transition from another technical element, instead of the basic crossover then take-off. There was also a rich variety of transitions between the technical elements, using turns, steps, free skating movements or choreography movements. Of course, Plushy's transitions still aren't "packed full", one reason for this is possibly because of stamina considerations, and another reason, in my personal opinion, is a matter of style. Plushy is a skater whose strength is in performance, and he needs to use a certain amount of time and movements for the performance, instead of continuously doing transitions with his feet.

CH: Plushy used new choreographers this season, and one can see improvements in the handling of the new rules. Perhaps due to age, or perhaps due to habit, the SP still had all three jumps at the start, and there were only three jumps in the second half of the free skate, but there really isn't anything wrong with that. The most important thing is that the programs appear to flow much better, without the sense of being arbitrarily divided into discrete parts, with each part being one technical element from start to end, and then the next part begins. Another thing worth mentioning is the choreography of the spins. Given how stringent the changes in the new rules are with respect to all aspects of spins, the choreography brought all of of Plushy's abilities to full play, with two level 4 spins and one level 3 spin--this is already very difficult. In particular, there were two new positions, ones that he had never done before, in the sit spin.

IN and PE: I am putting these two together because these are the two most subjective standards. As a Plushy fan, I am not asking myself to make any "fair or objective"comments, nor is it possible for me to do so. I only want to praise. I don't think anyone will disagree that Plushy's interpretation and expression of music is at the very top among current male singles skaters. The music for the short program is Yanni's "Storm", arranged and performed by Edvin Marton. To be honest, I am not familiar with this music, but looking at the expression of each of Plushy's physical movements, before and after the start of the straight-line footwork sequence--and to an even greater degree of detail, in the first and second halves of the straight-line footwork sequence--one sees that they are completely different. As the style and rhythm of the music changes, the style, rhythm, mood, force of Plushy's movements also change constantly, in close accordance with the music.

For the LP, his music is Tango de Roxanne from Moulin Rouge, a piece of music that many skaters have used before. Among these, a favorite is the version by Yuna Kim, a version that I have saved on my computer and watched many times. So when this familiar music first began, I thought I would be comparing the two versions, which one would be the greater "classic". But as Plushy moved on the ice, the only thing left in my eyes and my heart is him. I no longer thought of anything Yuna did, never mind comparisons. By the last moments of the program, I was nearly in tears. His flawless interpretation makes it impossible to think of anything, about anyone else. I don't want to say which one is better, I can only say that in the end, Plushenko is the one that my heart loves. Plushy is very much suited to the tango: if I remember correctly he has skated three programs to tangos: Tango and Flamenco from 2004, Tango Amore from 2010, and Tango de Roxanne from Moulin Rouge from this season. Each of them has a different feeling: heroic, bright, sexy, seductive, mercurial, dignified, dominant, and even more. Can you say which one is the mood that the tango "should" possess? After watching his performance, the answer becomes: all of them. This is Plushy's own performance style, no restrictions, no copying from any classic, every movement full of expression, every movement evoking delight and love. The ice is his stage, and he is the king on ice.

I let out a breath of relief after learning the news that Plushy will skip the Worlds for medical treatment. My first wish is for him to be healthy, and only then--that he brings us more wonderful programs. He no longer has anything to prove. From the past to the present, he was and is always the best.

A huge thanks to 嗷嗷嗷！

[lovplush]

After the European Championships, 嗷嗷嗷, who is a very knowledgeable fan at Plushy's Chinese fan club (his "tieba"), wrote a great technical element-by-element analysis of his SP and LP performances at the Euros. With her kind permission and help , I have translated it it to English, since I found it both really wonderful to ead, and very helpful as well. I hope people here find it enjoyable!

Great job whitebamboo

[cekoni]

After the European Championships, 嗷嗷嗷, who is a very knowledgeable fan at Plushy's Chinese fan club (his "tieba"), wrote a great technical element-by-element analysis of his SP and LP performances at the Euros. With her kind permission and help , I have translated it it to English, since I found it both really wonderful to ead, and very helpful as well. I hope people here find it enjoyable!

Xiexie whitebamboo and 嗷嗷嗷

... LP
TR: ...
Of course, Plushy's transitions still aren't "packed full", one reason for this is possibly because of stamina considerations, and another reason, in my personal opinion, is a matter of style. Plushy is a skater whose strength is in performance, and he needs to use a certain amount of time and movements for the performance, instead of continuously doing transitions with his feet.

...
Plushy is very much suited to the tango: if I remember correctly he has skated three programs to tangos: Tango and Flamenco from 2004, Tango Amore from 2010, and Tango de Roxanne from Moulin Rouge from this season. Each of them has a different feeling: heroic, bright, sexy, seductive, mercurial, dignified, dominant, and even more. Can you say which one is the mood that the tango "should" possess? After watching his performance, the answer becomes: all of them. This is Plushy's own performance style, no restrictions, no copying from any classic, every movement full of expression, every movement evoking delight and love. The ice is his stage, and he is the king on ice....

And Tango parts in:
- Once Upon a Time in America 2000/01 (from "Hasta que te Conoci" by Raúl di Blasio)
- Story of an Artist 2001/02 (same Tango de Roxanne from Moulin Rouge)

Thanks again girls!

[Ирина]

Вера писал(а):
А можешь перевести анализ с Шеффилда? Можно по частям

После ЧЕ 嗷嗷嗷, - очень знающая поклонница с китайского форума , сделала анализ КП и ПП..... С её разрешения и помощью я перевела его на английский...

whitebamboo

Перевод
Часть 1

Программы Жени на чемпионате Европы 2012 : технический анализ
http://tieba.baidu.com/p/1392742043
Автор: 嗷嗷嗷
Честно говоря, я почти плакала, глядя Женину произвольную на ЧЕ. Так много чувств....Ну, я не буду много говорить об этом, потому что я представляю, что все поклонники Жени испытали все эти различные чувства. Я просто проанализирую программы....
Teхнические элементы:

Короткая программа

1. 3Lz+3T (тройной лутц-тройной тулуп): Уже давно мы не видели эту комбинацию в исполнении Жени, т. к. обычно он добавляет 3T к 4T или 3A. Для него это не трудный элемент, хотя у него были некоторые проблемы с 3Lz ранее в этом сезоне. Эта комбинация прыжков была исполнена чисто: Женя сделал те же предшествующие шаги, которые делал раньше перед одиночным 3Lz в короткой программе, ритм комбинации был хорошим. Прыжки были с хорошим балансом, устойчивые; и высота, и дистанция были очень хороши.

2. 3A (тройной аксель): Oдин из фирменных прыжков Жени. Если бы в короткой программе не требовалось выполнять одиночный тройной аксель, я бы сказала, каскад 3A+3T был бы самым постоянным из всех его каскадов с тройным тулупом. Данный 3A – ещё один пример его высокого качества, с лёгким и высоким вылетом, замечательной высотой, превосходным движением и идеально чистым приземлением.

3. 3Lo (тройной риттбергер) с шагов: Исполнение было нормальным; кроме несколько неустойчивого приземления, всё остальное хорошо.

4. Волчок со сменой ноги, уровень 3: Была сложная вариация перед сменой ноги – свободная нога в сторону; 8 оборотов; сложная вариация после смены ноги – свободная нога вытянута вперёд. Похоже, что он первоначально хотел исполнять смену ноги с прыжком, но не совсем сделал это, так что вращение удовлетворяло только чертам третьего уровня. На самом деле этот волчок лучше, чем я ожидала. В этом сезоне Женя разучил новые позиции: это действительно замечательно, что в его возрасте он старается приспособиться к новым правилам. Вращение было хорошо центрировано, довольно быстрое, с небольшим понижением скорости в конце, позиции во вращении были чёткими.

5. Прыжок в либелу, уровень 3: Со сложной вариацией захода, 8 оборотов в позиции либела (ласточка) и вращение «кольцо» как сложная вариация. Tакже предполагалась позиция с захватом ноги за спиной, которая была бы ещё одной сложной вариацией, но ему не удалось додержать её более одного оборота. Если бы он удержал в течение 2 или более оборотов, это было бы вращение 4 уровня. Поскольку либела имеет наибольший радиус из всех позиций во вращении, она неизбежно самая медленная. Для вращения «кольцо», хотя его гибкость уже не сравнится с тем, что было в прошлом, требование удовлетворено, поскольку там есть позиция. В целом скорость и позиции во вращении были хорошими, но центровка не была идеально сохранена.

6.Дорожка по прямой, уровень 3: Вообще говоря, Женя способен делать дорожки 4 уровня, но он также может идеально выполнить дорожки 3 уровня, не расходуя слишком много энергии и физических сил, так что это лучше для него. Эта дорожка абсолютно без проблем набирает 3 уровень: она содержит богатое разнообразие всевозможных типов поворотов и шагов, изменения направления были сбалансированы, рёбра очень чёткие и чистые. Движения прекрасно соответствовали музыке, а выражение эмоций было сильным и полным.

7. Комбинированное вращение со сменой ноги, уровень 3: Смена ребра перед сменой ноги, сложная вариация – свободная нога вытянута вперёд; по три базовые позиции до и после смены ноги. Вращение было с хорошей центровкой и хорошими позициями. Скорость была хорошей перед сменой ноги, после стала немного медленней, что может быть связано с усталостью, т. к. это был последний элемент в программе.

[Вера]

Спасибо, Дариночка! Очень знающая поклонница. Не каждый специалист так разберется. Ждем анализа ПП.

[Scarlett]

Спасибо, Дариночка! Очень знающая поклонница. Не каждый специалист так разберется. Ждем анализа ПП.

присоединяюсь к благодарности.
Это наверное высший пилотаж, смотреть прокаты Жени с пониманием, насколько правильно исполнение технически. Мы все таки болше визуально воспринимаем происходящее на льду (некоторые вообще не дышат почти во время проката и фиксируют только приземления после прыжка ). А если вот так профессионально рассматривать еще проги? думаю эмоции и понимания проги намного обостреннее нашего.
Спасибо еще раз