Bits and pieces from Yuna's book 7 minutes drama (Chinese vers) Options

[os168]

what??

improvisation??

I thought she had been practicing the stare for hours

this goes beyond genius...

Something are better left unpracticed. Yuna is quite an actress isn't she? Like all greatest actors are, they have a rough script at hand, but each performance they made it totally new because there are much improve involved depends on the crowd, circumstance, occasion.

Yeah she's genius, I think soooo...

[os168]

Last post about the Gershwin.

When I saw the Gershwin in TEB 2009, what surprised me most was David's talents. I think David's genius is as monstrous as Yuna's (Sorry Yuna, but you sometimes scares me.. )

His music editing was amazing. It was exiquisitively edited for Yuna. It didn't interfere with her jumps, spins, transition and gliding across the ice during the performance, but seemed to support her skating until her last 3 Luts, as a BGM.

It seemed like not that she skated the the music, but that the music functioned as BGM. After all difficult jumps, Yuna became the music and skated to the music freely and gracefully and with flity

It was fantastic.

(re Heroic_Kaizer, BGM= Back Ground Music)

It takes 2 to tango. But I agree David Wilson is quite a partner, and yes his editing of Gershwin was as sublime as the interpretation on ice. I have heard somethg like 3 or 4 versions of Gershwin and none of them sound even closely tothe one that had been edited. I do believe David has just as a good ear as Yuna, and that is why they make a ver powerful pair.

Also the fact they have great chemistry and cared for ne another, and Yuna trust him enough to really let herself go (Doing the sexy moves a few years ago will result her hide her face in pillows) to places she didn't think was possible. She has never looked lovelier and immaculate than in her Gershwin program at the Olympics.

I must check out Gershwin in TEB2009 again.

For me, it's not just the performance but the stage as well. I'm sure Yuna has performed countless perfect Gershwin's in practice but it's a practice. I see her Olympic performance better than any ever, better than all practices and better than TEB because it was on the greatest stage that figure skating has.

ITA..it is all about when you are suppose to do it when it matters the most.
Yuna skated clean at the 1 time it mattered the most. It was surreal.

This post has been edited by os168: Jul 30 2010, 07:03 PM

[jaylee]

Btw, I think it's Hugo Chouinard who edits Yu-Na's music, and obviously he has to work with David to do it. Her music cuts have always been superb. If you ever listen to the original Lark Ascending, you can see why.

I think my least fave music cut is actually Tango de Roxanne. I've always loved the performance, but not the music cuts, because I know the original music from Moulin Rouge pretty well (and I can see why she picked it), but they had to cut out the vocal parts.

For me, it's not just the performance but the stage as well. I'm sure Yuna has performed countless perfect Gershwin's in practice but it's a practice. I see her Olympic performance better than any ever, better than all practices and better than TEB because it was on the greatest stage that figure skating has.

I feel the same way, but I have love for TEB too. I prefer one over the other depending on my mood.

I look at it this way. At the Olympics, Yu-Na was like Hercules, skating onto the ice with an incredible task before her, carrying the weight of the world onto her shoulders. Once the music began, jump by jump, she conquered that weight, jumping so high, spinning so cleanly, that the weight rolled off in a most amazing, breathtaking fashion (for me, btw, the biggest weight was off after the flip, and I think Brian felt the same way, because he threw his arms up after she landed it). You couldn't believe the weight that she was carrying because she skated so fast and so beautifully--but it's the Olympics, everyone knows it's there, everyone can feel that intense pressure weighing down on everybody. And once it was all over, Yu-Na found herself with the weight off her shoulders, standing on top of the podium with the highest reward she could have gotten. The burden she had been carrying was huge, but so was what she got in return.

TEB is the complete opposite of the Olympics--you wouldn't realize that it's a competition at all, the atmosphere was completely different (and Yu-Na *was* nervous but she hid it very well). Other than the missed flip, it's like she's skating an exhibition! Her Ina Bauer is beautifully done, with a deeper layback than she had at the Olympics (this is not to say that the one she had at the Olympics was bad, of course, it was fine). At TEB she was freer with her spins BUT as a result, she didn't quite take care to get all her revolutions in for each position (remember how everyone freaked out over her missed levels), but it didn't hurt the performance at all. At the Olympics she had to take a little extra care to get those levels, to get everything done. At TEB, the burden and weight she was carrying wasn't the same, because it wasn't the Olympics, so the reward/drama wasn't there, either. So the context is very different.

[yunakimlove]

Btw, I think it's Hugo Chouinard who edits Yu-Na's music, and obviously he has to work with David to do it. Her music cuts have always been superb. If you ever listen to the original Lark Ascending, you can see why.

I think my least fave music cut is actually Tango de Roxanne. I've always loved the performance, but not the music cuts, because I know the original music from Moulin Rouge pretty well (and I can see why she picked it), but they had to cut out the vocal parts.



I feel the same way, but I have love for TEB too. I prefer one over the other depending on my mood.

I look at it this way. At the Olympics, Yu-Na was like Hercules, skating onto the ice with an incredible task before her, carrying the weight of the world onto her shoulders. Once the music began, jump by jump, she conquered that weight, jumping so high, spinning so cleanly, that the weight rolled off in a most amazing, breathtaking fashion (for me, btw, the biggest weight was off after the flip, and I think Brian felt the same way, because he threw his arms up after she landed it). You couldn't believe the weight that she was carrying because she skated so fast and so beautifully--but it's the Olympics, everyone knows it's there, everyone can feel that intense pressure weighing down on everybody. And once it was all over, Yu-Na found herself with the weight off her shoulders, standing on top of the podium with the highest reward she could have gotten. The burden she had been carrying was huge, but so was what she got in return.

TEB is the complete opposite of the Olympics--you wouldn't realize that it's a competition at all, the atmosphere was completely different (and Yu-Na *was* nervous but she hid it very well). Other than the missed flip, it's like she's skating an exhibition! Her Ina Bauer is beautifully done, with a deeper layback than she had at the Olympics (this is not to say that the one she had at the Olympics was bad, of course, it was fine). At TEB she was freer with her spins BUT as a result, she didn't quite take care to get all her revolutions in for each position (remember how everyone freaked out over her missed levels), but it didn't hurt the performance at all. At the Olympics she had to take a little extra care to get those levels, to get everything done. At TEB, the burden and weight she was carrying wasn't the same, because it wasn't the Olympics, so the reward/drama wasn't there, either. So the context is very different.

I agree with you. Personally, if we took the situation out of the performance, and looked at it, I would prefer the TEB. Like some have said, of course she was a little conservative with her performance at the Olympics. She had to be careful. But with the TEB, I felt like her artistry was on point, and I loved her opening combination. Even though she missed the flip, all the other jumps were so gorgeous that it more than made up for it. Also, I loved her expression at the end of the performance, so calm and truly the queen of figure skating.

[Yunanyagudin]

For me, it's not just the performance but the stage as well. I'm sure Yuna has performed countless perfect Gershwin's in practice but it's a practice. I see her Olympic performance better than any ever, better than all practices and better than TEB because it was on the greatest stage that figure skating has.

Edit : Yes. I agree. Personally, I love the Olympic Gershwin more than TEB. but I also love the TEB Gershwin coz for me, she seemed to enjoy her performance from the beginning to the end as if it were to be an Ex. and performed more freely. After the performance, she looked happy. That's all. even if some fans love the TEB more than Olympic for that reason, does it cause any problem to you or your love for the Olympic Gershwin?

This post has been edited by Yunanyagudin: Jul 30 2010, 09:51 PM

[Yunanyagudin]

(re Heroic_Kaizer, BGM= Back Ground Music)

It takes 2 to tango. But I agree David Wilson is quite a partner, and yes his editing of Gershwin was as sublime as the interpretation on ice. I have heard somethg like 3 or 4 versions of Gershwin and none of them sound even closely tothe one that had been edited. I do believe David has just as a good ear as Yuna, and that is why they make a ver powerful pair.

Also the fact they have great chemistry and cared for ne another, and Yuna trust him enough to really let herself go (Doing the sexy moves a few years ago will result her hide her face in pillows) to places she didn't think was possible. She has never looked lovelier and immaculate than in her Gershwin program at the Olympics.

I must check out Gershwin in TEB2009 again.




ITA..it is all about when you are suppose to do it when it matters the most.
Yuna skated clean at the 1 time it mattered the most. It was surreal.

yea. I found a clip on the Yuna's channel, and P.J. Kwong & David talked about his music selection.

http://www.youtube.com/watch?v=NHDKdh3n75s


and I read an interesting article.

As to Hugo, David asked him James Bond Medly for Yuna's new sp. It was very interesting and unusal theme for him. Coz It's the Olympic! It could be tacky. He has worked for David & Yuna since 2006. So Hugo knows very well that Yuna has such charisma and character as to need something new.

and he found terrific double album played by the City of Prague Philhamonic, which had great potentials for choreography, and sent it to David.

After participating in PSA conference, David listened to 59 musics in the album, and sent hugo his priority lists.

Hugo said it was a very intensive brainstorming work between them.

Version 1 -> version 2 ->........-> version 9.. they got exited about the result. and then they tested it on the ice with version 9 for the first time.

and finally version 13 came out. And we could watch The James Bond Medly in TEB 2009..

I think we may do some reasoning about the processing of music edting for the Gershwin.

Edit : Hugo said they needed total forty transitions for the collaboration.

This post has been edited by Yunanyagudin: Aug 2 2010, 01:17 AM

[Realdeal]

I feel the same way, but I have love for TEB too. I prefer one over the other depending on my mood.

I look at it this way. At the Olympics, Yu-Na was like Hercules, skating onto the ice with an incredible task before her, carrying the weight of the world onto her shoulders. Once the music began, jump by jump, she conquered that weight, jumping so high, spinning so cleanly, that the weight rolled off in a most amazing, breathtaking fashion (for me, btw, the biggest weight was off after the flip, and I think Brian felt the same way, because he threw his arms up after she landed it). You couldn't believe the weight that she was carrying because she skated so fast and so beautifully--but it's the Olympics, everyone knows it's there, everyone can feel that intense pressure weighing down on everybody. And once it was all over, Yu-Na found herself with the weight off her shoulders, standing on top of the podium with the highest reward she could have gotten. The burden she had been carrying was huge, but so was what she got in return.

TEB is the complete opposite of the Olympics--you wouldn't realize that it's a competition at all, the atmosphere was completely different (and Yu-Na *was* nervous but she hid it very well). Other than the missed flip, it's like she's skating an exhibition! Her Ina Bauer is beautifully done, with a deeper layback than she had at the Olympics (this is not to say that the one she had at the Olympics was bad, of course, it was fine). At TEB she was freer with her spins BUT as a result, she didn't quite take care to get all her revolutions in for each position (remember how everyone freaked out over her missed levels), but it didn't hurt the performance at all. At the Olympics she had to take a little extra care to get those levels, to get everything done. At TEB, the burden and weight she was carrying wasn't the same, because it wasn't the Olympics, so the reward/drama wasn't there, either. So the context is very different.

Yes, I can fully understand why some people like the TEB performance for a variety of reasons and the context was entirely different from the Olympics. I have no problem with that.
BUT, if I have to choose when someone's pointing a gun at my head , I have to choose the Olympics for the following two reasons in addition to the others' comments:

1) Her facial expressions were there *almost every moment* (and so was her Bond Girl SP at the Olympics). She smiled, gave flirtatious looks with her eyes, or became one with the music (her deep facial expressions--like the image below at the end of the step sequence or when she finished the final Y-spiral and speeds up in preparation for spread eagle) EXCEPT when she had to prepare for difficult triples, combination jumps, or while spinning.

2) The performance was *perfectly in sync* with the music. I think there are reasons why she and David sort of *compromised* (we can debate about my word usage ) a deep layback Ina Bauer or the extra transition move before going into the final Lutz, which can be found in the previous performances. To be honest, I'm also little bummed out about the Ina Bauer and the deletion of the extra transition but if those were done in order to be in a perfect harmony with the music, I support that decision 100%.
For example, I'm sure all of you have noticed that when she had finished the 3 jump combination as the piano solo ended (a kind of mini-cadenza), she did that nice transition movement (cute hops) going into the camel spin *right at the moment* the piano played those exciting syncopated chords. I can go on like this for every other transition and jumps, but, obviously, the climax was the straight line step sequence. It was a dream step sequence! Surely, you all can agree with this point. (It's okay if you don't ) Just think of 2007 WC Tango de Roxanne or 2009 WC Danse Macabre! All of the previous (and after) performances of Gershwin, she fell little behind the music (perhaps by a beat or half-beat) in the step sequences, although I have to say those also worked pretty good in different ways. But, at the Olympics, the straight line step sequence was glorious right to the end when she slowly and elegantly hurled the both arms to her neck and then under her chin. And, of course, she did that special ending pose as the music ended with a bang. Actually, I think she was ahead of the music by split seconds so that she could afford to let out that silent shout as timpani and brass hit the final note. (NOT TO BE CONFUSED with the one following after--the shout with her eyes closed and pumping her arms up...) I agree it was an unscripted improvisation that just came out spontaneously out of a pure joy and elation. Truly a beautiful moment...
 52466543.jpg ( 22.29K ) Number of downloads: 19


This post has been edited by Realdeal: Jul 30 2010, 11:47 PM

[Yunanyagudin]

Surely, you all can agree with this point. (It's okay if you don't ) Just think of 2007 WC Tango de Roxanne or 2009 WC Danse Macabre! All of the previous (and after) performances of Gershwin, she fell little behind the music (perhaps by a beat or half-beat) in the step sequences, although I have to say those also worked pretty good in different ways. But, at the Olympics, the straight line step sequence was glorious right to the end when she slowly and elegantly hurled the both arms to her neck and then under her chin.
 52466543.jpg ( 22.29K ) Number of downloads: 19

Absolutely agree. I know my opinoin is not popular. but her straight line step sequences at the Olympic was the hightlight for me. It was glorious, mezmerizing and perfectly synchronized with the music. It was one of the most beautiful step sequences I have ever seen.


Here is another example of mezmerizing step(Guess whose step it is? )

http://www.youtube.com/watch?v=_turk-W2Mzo...eos=mMB11cY6g6o

This post has been edited by Yunanyagudin: Jul 31 2010, 06:23 AM

[spiccoli]

Is Hugo still working with Team Yuna?

[San_Fran]

Edit : Yes. I agree. Personally, I love the Olympic Gershwin more than TEB. but I also love the TEB Gershwin coz for me, she seemed to enjoy her performance from the beginning to the end as if it were to be an Ex. and performed more freely. After the performance, she looked happy. That's all. even if some fans love the TEB more than Olympic for that reason, does it cause any problem to you or your love for the Olympic Gershwin?

I agree, I thought TEB Gershwin was the greatest LP I have ever seen from Yuna. But the Olympic Gershwin for all the reasons that have been talked about before and after her performance (pressure from Korean's, expectations from all, Orser's story, other great skaters failure, Yuna's lifetime goal, etc. etc.), I can't imagine will ever be matched by anyone.

[Yunanyagudin]

(re Heroic_Kaizer, BGM= Back Ground Music)

It takes 2 to tango. But I agree David Wilson is quite a partner, and yes his editing of Gershwin was as sublime as the interpretation on ice. I have heard somethg like 3 or 4 versions of Gershwin and none of them sound even closely tothe one that had been edited. I do believe David has just as a good ear as Yuna, and that is why they make a ver powerful pair.

The impressions which I felt after watching her LP may be summarized like this.

One sunday morning George Gershwin and his friend made an excursion to a local castle. (imagine the first chapter of Dr. Jekyll and Mr. Hyde)

and they came across a lovely and elegant lady rambling alone around a isolated castle.(I dare to compare her to Audrey ) Her movements were as light as a feather, with lilting rhythm. sometimes she seemed flirtatious like a playful fairy.

It impressed Gershwin deeply, and he made an improvisation to her movement and rhythm on the spot. It's the Gershwin.

I think her LP was visual rather than auditory until her last 3 Luts.(and then she became the music)

That's why I felt it is like a landscape of a lovely and elegant lady's stoll captured by a great painter, take the music simply as a BGM. I can understand why German commentator compared her LP to a great painting.

I agree with you on the point that the Gershwin's concept is "less is more"

At the same time, it was designed to appeal "Yuna"' herself to the judges, providing showcase of her powerful, sophisticated, and high-level skating. The music should be second at least in this program.

This post has been edited by Yunanyagudin: Jul 31 2010, 10:54 PM

[Yunanyagudin]

The Gershwin at Olympic/in 2009 TEB comparison clip.

http://www.youtube.com/watch?v=GGDbb6U_tBc...player_embedded


Anyway, amazing jumps & tremendous speed.. As Adam Rippon said, 'Yuna's speed is incredible'..

This post has been edited by Yunanyagudin: Aug 1 2010, 11:29 PM

[finesand]

The Gershwin at Olympic/in 2009 TEB comparison clip.

http://www.youtube.com/watch?v=GGDbb6U_tBc...player_embedded


Anyway, amazing jumps & tremendous speed.. As to Adam Rippon, 'Yuna's speed is incredible'..

Let me dare to point out a few things which I didn't like it in comparison with TEB.

1. Yuna was somewhat strained and in her hurry and she completed her 2A-3T just right before 2 minutes and blow away the 10% bonus.

2. Sync of music with rasing up her one arm after her Sachow sounds better in TEB than OG.

3. Ending Pose was paused longer gracely in TEB than OG. In OG, maybe some hurry becuase of some emotioonal problem.

4. In TEB, more relaxed peformane by enjoying herself and showing herself off.

On the other hand, what I liked,

1. No skip of flip jump, clean.

2. Invisible huge tension/pressure and finally her human and emotional scenes after short ending pose.

3. Even under the pressure, dramatic and most ideal "Happy Ending" sequels which everybody wanted in their imagination.

4. Ending of jinx that favorate Queen couldn't win OG. (It might make MK feel mist in her eyes.)

[Yunanyagudin]

Yuna was somewhat strained and in her hurry and she completed her 2A-3T just right before 2 minutes and blow away the 10% bonus.

Personally I take it as the sign of her strain. I mean in a little hurry.

For example, Yuna said she felt very nervous before she performed The James Bond Medly at 2009 Skate America. and she was a little earlier in rotation of 3F than usual. She thought she would fail. but landed it sucessfully anyway .

Even under the pressure, dramatic and most ideal "Happy Ending" sequels which everybody wanted in their imagination..

Yep. Yuna owned it. She was such a champion as everybody wanted in their imagination. I mean a perfect champion.

Ending of jinx that favorate Queen couldn't win OG. (It might make MK feel mist in her eyes.)

I am sure MK was not the only one.. and when she ran tears on the podium, I almost cried! I am normally not the type who used to weep when watching movies or dramas, but that moment was special for me, too..

This post has been edited by Yunanyagudin: Aug 2 2010, 04:23 PM

[finesand]

The Gershwin at Olympic/in 2009 TEB comparison clip.

http://www.youtube.com/watch?v=GGDbb6U_tBc...player_embedded

Here is another clip.

http://yunaforum.com/wiki/gershwin_s_conce...vs_2010_owg_nbc

[os168]

Hey Yunanuagudin, given you are such a fan of her Gershwin and Michelle Kwan, you might enjoy reading this thread on GS

http://www.goldenskate.com/forum/showthrea...-and-the-Queen/

Pardon me for a bit lit of shameless self promotion, but you can also read my review of her Olympic Gershwin there on page 7, #97. I remember I had been so inspired by Yuna performance at the Olympics, I immediately went online to check out all Yuna's youtube videos and fell in love with figure skating again.

I have just rewatched TEB, and I an certainly see why many might prefer the TEB version, they were so different. Yuna appeared to have really enjoyed herself at TEB, having so much fun with the choreography, look a those finger gestures that was so into the moment, the little hops, finger pointed to the air at 4min 06sec. She was totally relaxed relishing each emotional note she hit and expresses. Observe the little moments in between, just another day at the office and a little self satisfied smile at the end that goes 'Dallallaahh, so do you like it?? Oh you like it! Good!!'.

Her physical condition was incredibly good, and I don't think she was even breathing hard at the end unlike she was at WC2010. Forget about the 3F, it was just another day at the office for her.

At Olympics, she was far more serious and focussed, so the program felt less free formed and relaxed, but ware still spectacular in other ways. One Could almost argue that the the TEB Gershwin fit the jazz philosophy better, the fluidity, form and timing. However in jazz, each time she play it, it should be slightly different, depends on her mood, the crowd, the ambiance, so in this respect Yuna did interpret both very well, and it demonstrate her artistry according to different inspired by moments, rather than any clinical rehearsal that merely have some music in the background (like most of Miki Ando's performances for example).

This post has been edited by os168: Aug 2 2010, 06:39 PM

[Yunanyagudin]

At Olympics, she was far more serious and focussed, so the program felt less free formed and relaxed, but ware still spectacular in other ways. One Could almost argue that the the TEB Gershwin fit the jazz philosophy better, the fluidity, form and timing.

Thank you. I really enjoyed reading this thread on GS.

I agree. Personally I felt as if TEB/Olympic were to be different programs having different contexts and design, . It was my personal impression.

Like you said, TEB was less formed, more relaxed and improvisatory. Yes. It was the Jazz.

But when I watched her LP at the Olympic, it seemed to be a totally different program to me..

It was like reading a work of Plato(if I could say it). It was aristocratic, introspective and sophisticated, but unworldly and ideal.
Yep. For me, Yuna was instilling serenity and order over the ice. It was perfect but not jazz-like.

For those reasons, I enjoyed TEB more than Olympic, but I love Olympic Gershwin more. It was such a dream-like performance as one may see once in a life-time.

However in jazz, each time she play it, it should be slightly different, depends on her mood, the crowd, the ambiance, so in this respect Yuna did interpret both very well, and it demonstrate her artistry according to different inspired by moments

Edit : In that sense, I agree that her Olympic Gershwin was also the jazz. If so, Yuna may be simply a natural-born musician on the ice.

This post has been edited by Yunanyagudin: Aug 2 2010, 09:25 PM