not simple

フィギュアスケーターKim Yu-Na(キム・ヨナ)選手をまったり応援するブログ

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デヴィッド・ウィルソン icenetworkのインタビュー

icenetworkに男子フィギュアスケーターのアダム・リッポン選手と、振付師であるデヴィッド・ウィルソン氏のインタビューが掲載され、そのウィルソンのインタ中にキム・ヨナ選手に触れているところがありましたので、引用を。瞼がだいぶ重くなってきているので原文だけで失礼します。
とりあえずヨナのFSに関してはウィルソン振付で、ほぼ出来上がっているみたいですね。ヨナのSPについて触れていないのが気になりますが…ウィルソン振付では無いということなのかな? どうなんでしょう。
最後のヨナの成長について語っているところは、ウィルソンが「会った当初はものすごくシャイで、ハグの仕方から教えたくらいだった」と言っていたのを思い出して、微笑ましくなりました。


The Inside Edge with Sarah and Drew - August 23
Rippon ready for season to start after summer break
By Sarah S. Brannen and Drew Meekins, special to icenetwork.com

http://web.icenetwork.com/news/article.jsp?ymd=20100823&content_id=13815094&vkey=ice_news



We're going to try and interview some choreographers in the coming months, and for this edition of our blog we gave David Wilson a call. First of all, for whom did he choreograph in the coming season?

"I did a new long program for Brian Joubert, which I did with Shae-Lynn Bourne," Wilson told us. "I did a new long program, also with Shae-Lynn, for Kiira Korpi. It was the first time I worked with both her and Brian. I did a new long for Jeremy Abbott, and I did a new long for [Qing] Pang and [Jian] Tong, and a new short and long for Adam Rippon with Sébastien Britten, and I did a new short and long for Cynthia Phaneuf, one of my longstanding clients. And I'm just doing a long program, almost done, for Yu-Na Kim. And Min-Jeong Kwak, a new short and long for her."


Since Wilson has worked with several skaters for many years, we were very curious to know what the process is like in developing a unique style for each skater.

"I think of it in terms of trying to develop a range of what they can do, of colors that they can portray, of styles that they can embody," he said. "I don't think of it as trying to develop a signature style. With Yu-Na, the first couple of years I considered developmental because she was so accomplished as a skater already. I saw my role as being to open her up and enable her to express a little bit more with her face. She was so young, and she was a very shy person. She was always a very pretty, lyrical skater, but I wanted her to open up and let the music show through her movements more, a more human side of it. In those first couple of years we were also developing a rapport. Had we not done that, 'Dance Macabre' and 'Sheherezade' would never have happened, and certainly not the Bond girl!"

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