ジェーニャ復帰に関する興味深い記事

灯油切れ。
よもや4月になってもストーブつけてるとは思わなかった。

ファンボードで紹介してくれてた<a href=http://www.nevasport.ru/articles.php?id=13918>この記事</a>の英訳版にざっと目を通した。
<a href=http://sports.groups.yahoo.com/group/SkateFans/message/179293>『Is Plushenko ready to forget about Stradivari?』</a>
スポンサーのことや復帰して次の五輪に臨むことのリスクなど
いろいろあるが、私が一番興味深く読んだのは後半のプログラムに関することだ。

Evgeny can feel confident
under the rules system because no new demands have been added during his
absence. Moreover, the appearance of the Olympic champion in competition will
give the starts that sense of freshness that judges love so much.

people are waiting for a nearly
miraculous appearance – new image, unusual choreography and music, interesting
choreography. It is a paradox that despite specialists’ comments regarding
Plushenko’s tremendous talent and ability to do everything on the ice that his
programs of recent years have been received as cookie-cutter. It is a secondary
question – who is to blame? – the old-fashioned views on choreography of Aleksei
Mishin, the choreographer David Avdish, or the once-too-many times music
arranged by the famous Hungarian violinist Edwin Marton.

“Plushenko really can do a lot, but he is too used to doing the same movements
and posturing that are comfortable for him. This is why any attempts to
recommend him something unfamiliar are destined to destruction,” one Russian
choreographer, who had a chance to work with Evgeny before the Olympic Games
told me.

これはそこそこ古いプルシェンコファンの多くが
何年も前から危惧していたことではなかろうか。
前にここでさんざん書いてきたから
繰り返すのはやめておくけどさ。