奥运赛季结束后，MS最大的赢家是Lori姨，四个冠军节目就占了俩~ 陈露给谁编排了啊?
怎么一点印象都同有呢 陈露给谁编排了啊?
怎么一点印象都同有呢
jiangjiang 发表于 2010-3-2 20:29 http://www.chinaice.org/images/common/back.gif
陈露给中国的女单许斌姝编排过节目。 回复 34# enderstar
谢谢回答 虽然Lori在成绩上似乎大获全胜，但是我不得不说，这赛季还是DW的节目更好些吧……
说一下本赛季我最喜欢的节目（除了男单以外其他都能把最的那一个列出来。。。）
双人：DD LP
女单：铃木明子 LP（Shae-Lynn姐姐下赛季活会不会多些呢？）
男单：Jeremy Abbott SP Adam Rippon SP Ryan Bradley LP Jonathan Cassar LP
冰舞：Davis/White OD
7个里面DW的就占了3个，Shae-Lynn姐姐的也有两个。。。 双人：SS的SP和LP，DD的LP
冰舞：FS的FS，DW的OD，VM的OD算半个。
男单：Takahashi的SP（旧节目也能算吗？），兰兰的SP，Bradley的LP，Kozuka的SP和LP，AMODIO Florent的SP和LP。本来也想加上Takahashi的LP, 再想想还是觉得编排只能说比较好，Takahashi本人出色才是关键的因素。
女单：Akiko的SP和LP，RF的SP步法。 我来说说我最喜欢的几个节目
双人：
LP 1、DD 2、SZ 3、PT
SP 1、SZ 2、PT 3、SS
女单：
SUZUKI SP LP（铃木姐姐加油！SP和LP里面的步伐太赞了！我觉得是所有的女单选手步伐里面情绪最饱满的两套，完成质量也是没的说~）
Yuna SP LP（DW从来不炒冷饭，今年也不例外，越来越期待新的作品了。PS：今年的LP我真的很喜欢，很多人觉得没感觉，可能是音乐比较冷，很多人觉得不太容易接受的原因吧。）
Czsiny LP（心水了两个赛季）
Korpi SP（音乐很不错）
男单：
……好像没有，一时语塞
只有几个还算比较有感觉的
摸脸的SP
小兰的SP
Cassar的LP
小康的LP，编排水准不高，但是音乐和康大叔的表演都不错
Brezina的SP和LP音乐我都蛮喜欢，只是细节都做得不够好
总之，我觉得Jeff退役之后的男单节目没几个能看的。
最爱的冰舞：
VM FD OD（VM的OD在奥运前很多人觉得不怎么样，而我一直想着要是真正滑出来了会非常的拉风，加锦赛的时候就已经比GP系列好了不少，果然奥运就爆发了；至于FD，很多人也认为不怎么样，可是奥运上的演绎又比之前的比赛升华了不少，而且这套节目会以一种特殊的意义永远存留在我的心中）
DW OD（OD一定要赞，至于FD个人没多大感觉）
KK FD（一个是音乐，另一个就是一种对KK的情结吧，和VM的FD一样，或许都算不上绝对的好，但是确实有特殊的意义）
CL FD（暂且称之为惊艳~hoho）
BA FD（比去年的Tosca好的哪里去了~）
DS法 FD（就像电影大师回顾人生的封笔之作，祝福法国妈妈，另外赞一个DL的编排，果然是一起训练的队友，深知DS法的情感）
算了算，冰舞姨妈的节目最多，女单DW的节目最多，男单略过，双人Lori和DW平分秋色。 俺是门外汉，看不太懂，俺喜欢pt 和高桥的节目编排 垫一个楼，发Lea Ann Miller的旧采访
Lea Ann Miller Q&A
在《中国冰雪记忆》中看到当年Miller来华给申赵编图兰朵的片断很感慨，如果说申赵的成就是很多人共同努力的结果，Miller长达五个赛季的编舞绝对是决定性的一环，没有她的贡献，就没有破茧成蝶的申赵。这是2002年初的采访，据说Miller还给lulu编过《末代皇帝》，求证？？
Ask the Choreographer!
Well-known choreographer Lea Ann Miller, who recently choreographed "A Skating Tribute," answers your toughest questions about choreography. Miller was also a four-time medalist at the U.S. Championships in pairs. The response to Kids' Questions continues to be impressive, so keep those questions and photos coming every month!
http://www.usfigureskating.org/content/miller.jpg
Lea Ann Miller
Q: How are you able to come up with all these ideas for the programs you choreograph? David Miller, 14, Lockport, N.Y.LM: Most people would guess that the ideas come from the skaters and music only. I draw from all art forms and being open-minded. I go to the theater, many dance performances, art museums, concerts, and I go on walks to people-watch. You can lie on your back and watch the moving clouds ?skate? for you, or realize that a tree moving in the wind can relate to the opening move you were looking for. My point is, I keep my choreographic eyes open, especially when I'm not in the rink.
Q: What was the most challenging program you had to choreograph, and what made it so difficult? Kirsten Seagers, 8, West Chester, Pa.LM: My most challenging program recently has been working with the Chinese pairs team (Xue Shen/ Hongbo Zhao). They didn't speak English, and although they were very open and tried everything I asked, they have spent most of their career working on the technical side of skating. Style takes years to develop. Choreographers can't always make the difference in one program. I spent a lot of time off ice. With an interpreter, we talked about the passion of skating and the way to show emotions through choreography. I knew that when I left Beijing, they needed to understand what we were trying to do. Renee Roca and Gorsha Sur helped by demonstrating ideas and moving in a way I hoped Shen and Zhao would understand. I really care about this team, and I tried to make a difference in their skating. They picked the music that they could feel, and I gave them ideas to grow with. Sometimes that's all you can do. Q: It's always been my dream to become a choreographer. What advice could you give me in order to become as successful as you are in the business? Alysa Wiesner, 18, Eden Prairie, Minn. (pictured)LM: You have already taken the first step to becoming successful at anything ? dreaming about it! (Many of my ideas come in the middle of the night, so I keep a notebook in the nightstand.) My advice to you is jump in and try. Offer to choreograph for your friends or young skaters (for free), be willing to experiment, and don't ever get discouraged if you have a bad idea. Sometimes the bad ideas lead to brilliant ones! You have to have tough skin, because not everyone will like what you do at first. Part of your success is up to the student and how he/she relates to you. Sometimes it takes awhile to find the one that will give you the chance and really believe in you. Once you have the reputation, it is easier.
Q: When choosing music or helping a skater choose his/her music, what do you look for? Is it more of their personality off the ice, or the style that looks best on them on the ice? Grace Chun, 17, Irvine, Calif.; also Justina, 12, Orlando, Fla.LM: I always like to work with the skater when choosing the music. It is part of the learning process. I would never hand a skater the music and say ?this is it? because if they don't like it, I don't know how it could be successful. Music is 80% of the choreography. Take the time to find the right music. I always ask the skater what they like to listen to and to bring in a few music choices for skating. Then, with some of my ideas, I advise what could work best for them. Always listen to the music at the rink before doing the final edit. Things often feel different on the ice. I can tell by watching a skater stroke to a piece of music if they feel it or not. Sometimes my first choice doesn't work on the ice ? that's why it is good to have a few choices.
Q: Is it difficult to think up movements off the top of your head that will go smoothly with the music? Do you get frustrated when you can't think of motions? Ashley Johnson, 12, Arvada, Colo.LM: Once I have the skater and music, ideas always come. The challenge is, are they good ideas? Sometimes the next day I start over once the working relationship between the skater and me develops. I always tell the skater to expect change. The first day's work is the hardest. Once I sleep on it I can fix what didn't work, or trust my gut and keep on going. Sometimes I feel burned out, and it is better to take some time off to regroup. That's when I go to the theater and enjoy other choreographers' work.
http://www.usfigureskating.org/content/miller-partner.jpg
Miller with pairs partner William Fauver
Q: What is your favorite thing about being a choreographer? Sarah Brew, 15LM: Just like being a skater, when you work hard and the final product has success, then all the time and effort is worth it. I love when I do a show and the music, costumes, lights, concept and skating come together. The audience applauds, and you feel like you have really done something. It is the same when a skater you work with skates well ? you feel this rush of emotion like you skated with them. I don't like going to the competitions ? I still get nervous. So I let the coaches have that job. But I do enjoy the shows and watching on TV!
Q: What was the most enjoyable program to choreograph and why? Alan, 9, Fort Myers, Fla.LM: I have three skaters I would like to mention, for they each have a different and special meaning to me. First, Roz Sumners because she believed in me early on, and we have worked together for over 10 years. My favorite program I did for her in Stars On Ice was ?Beautiful Goodbye.? Thanks, Roz. Next was a skater that asked for a professional makeover after winning the World Championships, Yuka Sato. We did a program called ?Sozo? that she skated in the World Professional Championships to a standing ovation. After that I felt like a real choreographer. Thanks, Yuka. And thanks to John Nicks. I worked with Jenni Meno and Todd Sand on ?Nessun Dorma? that earned them 6.0s for presentation at the U.S. Championships (my first 6.0 ever). How lucky I have been!
Q: How do you decide which jumps, spins and footwork to use and where to put them? Do you ask the skaters where they would prefer them? Vanessa R., 11, Smithtown, N.Y.LM: It is important to ask the coach and skater what their strong and weak elements are. You never want to end a program with the worst spin or jump. I respect the fact that the jumping is important to the overall program, therefore I want the skater to be comfortable with the placements of the jumps and spins. Again, we always work together to come up with a good balance ? this way the program has a better chance of staying true to the original choreography.
Q: My coach skated with you in the '70s at annual summer camps, and she says you were always a very artistic skater. When and why did you decide to focus on choreography? Gina Gutierrez, 13, Hartville, Ohio; also Kathryn McGee, 13, Grand Rapids, Mich.LM: Yes, I always liked the choreography more than the jumping side of skating. Just ask my coaches! Maybe that's why I do what I do, but I never really thought I would be a choreographer. When I was skating in Stars On Ice, Scott Hamilton let me try out an idea I had for the company (that was over 10 years ago). I guess it worked because I haven't stopped working since. My advice is: Love what you do, and you will be successful at it.
Q: I am very interested in the art of choreography, but I have problems flowing. I have the technical talent but no flow. Can you give me some advice on how I can flow better with the music? Kara Renee Francavillo, 11, Chicago, Ill.LM: Try this: Pick some music that you really like, and that you feel has flow to it. Either put it in your Walkman or play it over the system, but make sure you can really hear the music. Just move to it. Don't over think, and don't look at anyone else around you. Just completely lose yourself in the music and flow across the ice like the music tells you. Flow and movement is a feel, not something that is taught. Listen to your body and the music. Never be shy when moving. Remember, you are an actor and the way you move only reflects the music you hear. Have fun!
Q: I watched ?A Skating Tribute? on TV and was very moved by the group segments. Was it hard for you to choreograph something that emotional in relation to Sept. 11? What did it mean to you to work on that show because of both the Memorial Fund and Sept. 11? Janet, 17, Chicago, Ill.LM: Since I benefited from the Memorial Fund while skating, and I was in New York City on Sept. 11, you can imagine how meaningful being involved with the tribute show was to me. I had little more than two hours to put the group number together, but I drew on talented skaters and being well prepared. I was honored when ABC showed it on TV. Often the group numbers don't make it on the air because they are difficult to direct. Thanks to Doug Wilson, the director, my special gift was shown. Yuna今年的LP立意和整体架构都非常优雅大气，有冠军的气质。但是我总觉得细节上不够丰富。在去年TEB第一次看我就有这种感觉，当时还想 随着赛季的进行，细节一定会丰富起来，结果一直没什么变化。陈露在央视做节目时也提到 “内容上稍微欠缺了一些”，和我的感觉是类似的。举个例子，很多人都批评浅田由于放了两个3A，所以节目开端部分完全没有编舞，时间都用来为跳跃做准备；但是Yuna的节目在开场的两个跳跃前后也没有什么编排啊，全部是压步上速。而且节目当中真正创新的编排也很少。
Yuna 的007SP我觉得延续了一贯的精彩，很好看。但是同样，我觉得比起以前的节目有简化的感觉，比如直线步，虽然和音乐契合仍十分完美，但是似乎比红磨坊，死之舞都有所简化，而接3F的步伐比起红磨坊中接3Lz的步伐也简单了很多。我一直不太明白为什么，难道说由于Yuna特别相信自己的GOE加分的分量，选择了稍稍简化动作难度，以保证稳定？
双人比较喜欢SS的ＳＰ和ＤＤ的ＬＰ，ＳＳ的ＳＰ真有一种灵动的美（尤其是配上ＳＳ轻盈的滑行），而且也非常难。
冰舞方面，ＤＷ的ＯＤ很出色，而且祖姨妈非常聪明的利用这套印度舞遮掩了ＤＷ线条不够好的弱点。
ＶＭ的ＯＤ概念上比较俗套，但设计得非常精彩。 把这个顶上去，赛季结束鸟，节目也看完鸟，列一个印象比较深的节目吧
男单的sp 瓢虫的，摸脸的，桥的，猪的（气氛）
lp 桥的，瓢虫的，大少的，海盗小盆友的，小猴子的
女单 sp 铃木的，Kiira的
lp Alissa的，铃木的，范女王的
双人 PT的两套，DD的LP，SZ的两套，ZZ的SP
冰舞：OD很多都喜欢（野人舞除外＝ ＝），民族音乐的OD希望ISU过几年就搞一次
FD VM的，FS的，BA的，KK的 回复 38# enderstar
本来这种技术(or艺术？）贴是不适合我这种小白回的
不过“拉风”这个词用来形容VM的OD真是太适合不过了
还记得NBC的解说说"Watch how Tessa worked with the skirt"
真的很拉风 LULU的末代皇帝是TOLLER CRANSTON做的