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Home → Books → Figure Skating (edited by A. N. Mishin)
Chapter 2.
The emergence and development of figure skating
Pages: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29
There is a wise aphorism: "History is the future on the contrary."
This expression retains its deep meaning in relation to sports.
And indeed.
The better we know the history of figure skating, the more accurately and deeply we will be able to predict the ways of development of our sport.
THE ORIGIN OF FIGURE SKATING
Historians look into the very distant past to find the origins of figure skating, to get acquainted with its pioneers.
Already in the manuscripts of the XII century.
there are reports of primitive bone skates, on which the inhabitants of ancient London rode (Fig. 1).
Here is what the Canterbury monk Stepha Nius wrote in his "Chronicle of the noble City of London": "... whole groups of young people go to play sports on ice.
Some, walking as wide as possible, glide quickly...
Others, more experienced in playing on the ice, tie up the shin bones of some animals and, holding sticks with sharp iron tips in their hands, sometimes push them against the ice and rush with the same speed as a bird in the air or a spear fired from a ballista."
Fig.
1. Prehistoric horse
There are many references to bone skates in the Scandinavian epic.
Similar skates were found during archaeological excavations on the territory of many European countries, for example in Switzerland.
Of course, the owners of bone skates could not lay the foundations for the future of figure skating.
For this, completely different skates had to appear made of iron.
And the first mention of such skates is in the Icelandic saga of Fridtjof, recorded in 1380.
In the Dutch book "The Life of Ludwina" you can even see what a horse with an iron blade was like.
In an engraving depicting a group of skaters at the city wall, we see skates of that time.
There is no doubt that these are combined skates — a wooden block with iron blades (Fig. 2, above).
The appearance of a new type of skates gave a powerful impetus to the development of speed skating and figure skating itself, which at that time consisted mainly in the ability to draw intricate figures on the ice and at the same time maintain a beautiful pose.
This is what attracted many people of art.
A passionate fan of skates was, in particular, the great German writer I. V. Goethe.
There are even paintings that have captured the poet sliding on the ice in an exquisite pose - In general, there are not so many paintings, engravings, drawings and even caricatures dedicated to any sport that exists to this day, as skating and figure skating.
Fig.
2. Vintage skates
A noticeable trace in the history of figure skating was left by the artist of the XVIII century Benjamin West from Philadelphia.
In 1783, he came to Europe and demonstrated great plasticity, grace and courage.
It turned out that American skaters are not only not inferior to European skaters, but also surpass them in the technical skills of skating.
The appearance of the first figure skating textbook also dates back to that time.
The English artillery lieutenant Robert Jones, himself an excellent master of skating, published a "Treatise on Skating", in which he described all the main figures that were then known.
They already understand the technique of performing internal and external arcs, spirals forward to the outside, internal and external boats, eights forward to the outside and many other elements.
FORMATION OF FIGURE SKATING AS A SPORT
It took about a hundred years to basically develop almost all the current mandatory figures and the basic techniques for their execution.
In any case, the book "The Art of Skating", published in Glasgow and written by D. Anderson, president of the skating club of this city, and the work of X. Vandervel and T. Maxwell Whitman from London already contain descriptions of all eights, triples, hooks and other elements, without which today's figure skating is unthinkable.
The regularity of the fact that almost all the mandatory figures were created in the UK is explained by the fact that it was here that the first skating clubs appeared (Edinburgh, 1742) and the first official competition rules were developed.
However, the overseas figure skaters were not asleep either.
In the USA and Canada, numerous figure skaters ' clubs were also organized, new models of skates were developed, and their own school of technology was created.
And when the best figure skater of the USA, Jackson Heinz, arrived in Europe in the 60s of the last century, it turned out that even the most experienced of the ice masters had something to learn from him.
Here is what N. Panin Kolomen Kin wrote about Heinz's arrival in Europe: "Back in 1864, the American figure skater Jackson Heinz arrived in Europe, who was destined to become the founder of the modern art form of skating.
His manner of riding, exceptional beauty and natural ease, rhythm and musicality of movement, developed, apparently, is quite original...
In addition, in the technique he showed for the first time in Europe that the course does not only depend on inertia after the push, but with every turn of the body, associated with the stretching and bending of the knee of the supporting leg, you can get a new progressive movement.
This is an important principle in connection with the nature of all the techniques of J. Heinz proved to be an invaluable factor.
But the greatest merit of Heinz was that, as a true artist, he completely possessed a sense of proportion that categorically blocked his path to extremes; he understood that the aesthetic side should not be suppressed by purely sporting technical, that accuracy, confidence and speed should be combined with beauty, freedom and naturalness, and managed to raise his performance to the level of real art, irresistibly infecting the viewer with his emotionality.
Thanks to this, he showed the astonished Europeans completely unexpected possibilities of performing coherent sequences, the fastest figures and elegant rhythmic dances in the most beautiful performances and the most graceful movements of the body...
The influence of his art was enormous.
It served as the impetus that caused a huge qualitative leap forward and subsequently led to the formation of a new form of art manifestation — the international style..."
Heinz also performed in St. Petersburg, and numerous spectators, including, of course, figure skaters, took a lot from what this best figure skater in the world at that time showed them.
Among the spectators was Alexey Pavlovich Lebedev — the Russian figure skater whose skill has always aroused respect among the strongest foreign athletes.
It was Lebedev who was destined to become the winner of several major tournaments, including the competitions of 1890 in St. Petersburg, where the strongest athletes of the world gathered.
This tournament was held in honor of the 25th anniversary of the skating rink in the Yusupovsky Garden.
It was attended by the US champion L. Ruben Stein, the German champion F. Kaiser, the best figure skaters in Sweden, Austria, Finland.
According to its composition, it was actually an unofficial World Championship.
The victory in it went to A. Lebedev, who showed not only calligraphic accuracy in the performance of mandatory figures, but also excellent free skating, rich in artistic finds and striking everyone with its harmony.
A. Lebedev did not hide that he owed his success to his friendship with famous artists, who helped to create an unusual free program with advice, a special vision and understanding of plastic art.
The victory at this tournament allowed many sports historians to consider A. Lebedev the first unofficial world champion.
The successful completion of the competitions in St. Petersburg largely accelerated the creation of the International Skating Union (1892) and the subsequent organization of the first European and world championships.
For many foreign experts, the success of Russian figure skaters in the early 90s of the last century was a complete surprise.
But an attentive observer could note the fact that figure skating in Russia has been popular since the time of Peter the Great.
It was the Russian tsar who brought home the first samples of skates after his trip to Europe.
It was Peter I, as it has been written more than once, who came up with a new way of attaching skates — directly to the boots and thus created a pramodel of today's equipment for figure skaters.
You can, by the way, recall the lines from "Eugene Onegin": "The joyful people of the boys cut the ice with their skates sonorously," where A. S. Pushkin leaves us living evidence that fun on the ice at the beginning of the XIX century.
they have already entered the life of the Russian people.
The appearance of the first textbook for figure skaters — "Winter fun and the art of ice Skating" - also belongs to the Pushkin times.
Its author was G. M. de Pauli — a gymnastics teacher at military educational institutions in St. Petersburg.
In 1877, the skating rink in the Yusupovsky Garden was transferred from the ownership of the Yacht Club to the ownership of a small circle of true fans of the skating art.
It was then that the St. Petersburg Society of Skating Lovers was born, which was destined to play an outstanding role in the development of figure skating in our country.
It was at the skating rink of the Yusupov Garden that the first World Figure Skating Championship was held in 1896.
It was won by a figure skater from Munich, Gilbert Fuchs.
Only men took part in the championship.
There were four of them, and among them two Russian athletes G. Sanders and N. Paduskov.
The turn of women to play for the title of world champion came only ten years later, and even then the right to hold their own championship was officially recognized only in 1924.
And M. Sayers was proclaimed the first champion in 1906.
The organizer of the championships was then (and retains this right to this day) International Skating Union.
Pair skating and sports ice dancing appeared in the program of the world championships much later.
It was only in 1908 that the championship among sports pairs was played for the first time.
At that time, the World Cup was again held in St. Petersburg.
German figure skaters A. Hubler and G. Burger went down in history as the first owners of gold awards in pair skating.
And the dancers first played their awards only in 1952 in Paris.
As expected, the English were the strongest — D. Westwood and L. Dem Mi.
After all, it was the figure skaters of Great Britain who were the creators of a new "genre".
At first, the world tournaments gathered only a few athletes.
It was a kind of backstage competition.
But the popularity of figure skating grew with fantastic speed, and already in 1908, figure skating competitions were included for the first time in the program of the IV Summer Olympic Games held in London.
Even then, the Olympians competed on artificial ice.
By the way, the first ice rink with artificial ice was built in England in 1876 according to the project of D. Pictet.
Let us note in passing that in Russia the first ice rink with artificial ice in an enclosed space appeared on the eve of the First World War at the former Aquarium theater in St. Petersburg.
Unfortunately, the skating rink did not function for long, and the skaters could not use it for regular training and major international tournaments.
The first Olympic champions in single skating in 1908 were M. Sayers (Great Britain), U. Salchov (Sweden), the sports pair A. Hubler — G. Burger (Germany) and N. Panin Kolomenkin from Russia.
The Russian figure skater, a prize winner of the world and European championships, was unattainable in the competitions for the best performance of the so — called special figures there were such competitions then.
The skaters themselves drew complex patterns for themselves, and then with the help of skates they transferred them to the ice.
The figures proposed to the judging panel of the Olympic Games by N. Panin and Lomkin were so original, beautiful and complex that they were considered absolutely impossible (Fig. 3).
And.
when the Russian figure skater still drew them, he was awarded a well deserved gold medal — the first in the history of domestic sports in general!
Fig.
3. Special shapes
N. Panin successfully performed not only at the Olympic Games.
His sporting path is decorated with many achievements and awards.
He was the winner of the silver medal of the 1903 World Championship in St. Petersburg, losing to the multiple champion Ulrich
Salchow from Sweden.
His record includes a bronze award of the 1903 European Championship in Davos and a silver medal of the 1908 European Championship in Warsaw.
The awards were awarded to him in a very intense struggle, during which he had to overcome both the bias of the referees (as happened at the Olympic Games in London) and the obstacles imposed on the Russian champion at home by bureaucrats.
For this reason, he had to hide his real name and perform at international competitions under the pseudonym Panin.
This pseudonym took root so much that later N. A. Kolomenkin always attached it to his surname.
THE DEVELOPMENT OF FIGURE SKATING IN THE USSR
The contribution of N. A. Panin Kolomenkin to the development of figure skating is so great that many generations will remember him with gratitude.
He created the world's first fundamental textbook, in which he outlined almost all the main technical, staged, educational aspects of modern training and competitions of figure skaters.
He designed his own skate model, which, being modernized, remains in service with skaters to this day.
Moreover, it was Panin Ko lomenkin who created and tested the system of sports categories that is still successfully operating today as a basis for improvement .
and the growth of skill.
The great merit of N. A. Panin Kolomenkin was the opening of the figure skating department at the Leningrad Institute of Physical Culture named after P. F. Lesgaft, which marked the beginning of the study of this sport and the training of qualified personnel within the framework of higher education.
Within the walls of the institute, prominent specialists and experienced teachers worked, who created the scientific and practical base of modern Soviet figure skating.
Among them is the os.the second place is occupied by the two time national champion in pair skating, Professor A. B. Gan delman, a student of N. A. Panin, who has done a lot to preserve and develop the rich scientific and pedagogical traditions of domestic figure skating.
The institute has trained a large group of highly qualified specialists, coaches who have successfully worked in the national team of the country in different years: S. A. Zhuk, I. B. Moskvin, T. N. Moskvina, A. N. Mishin, etc.
N. A. Panin, in addition to scientific and pedagogical activities, conducted active " work on the organization of mass figure skating, seeing it as an effective factor in improving the health of workers and the basis for the growth of higher sports skills.
N. A. Panin Kolomenkin and his students immediately after the revolution began to create the first sections of this sport.
Since the mid 20s, the championships of Moscow and Leningrad have been held regularly.
By the end of the 20s, more than 300 people were regularly engaged in figure skating in Moscow.
Among them were such famous masters as Dynamo players Yu.
Zeldovich, K Likharev, a sports pair M. Gaskevich I. Wonzblein, representatives of the section of the Union of Metalworkers T. Granatkina, Yu.
Stankevich, M. Stankevich, etc.
Healthy competition between the two leading groups of Moscow figure skaters led to a rapid increase in skill.
Among the Leningrad residents, the active organizers of figure skating groups were athletes known since pre revolutionary times, K Caesar, F. Datlin (before the revolution they repeatedly won the titles of champions of Russia, and both were students of N. A. Panin Kolomenkin), L. Popov.
However, the Leningraders were clearly inferior to their Moscow colleagues in terms of skill, and when in 1928 it was decided to send a team of Soviet figure skaters to Norway, only Muscovites got into it, and N. A. Panin Kolomenkin was the judge.
The Moscow Championship was held for the first time in 1923.
The champions then became Yu.
Zeldovich, A. Bykovskaya and the sports pair N. Bykovskaya — Yu.
Zeldovich.
The Leningraders held their first championship three years later.
I. Bogoyavlensky won among men, and A. Yergina — I. Bogoyavlensky took the lead in pair skating.
Ye competitions were held among women.
The national championships in those years were held irregularly, with long breaks.
The years 1924, 1927, 1928, and 1933 were marked by all the union tournaments, and only then did the championships become permanent, especially after the All — Union Section (later the federation) of Figure Skating was created in 1936.
The first winners of the All Union tournament in 1924 were!
Muscovites Yu.
Zeldovich and N. Bykovskaya Yu.
Zeldovich.
Women's singles did not play the championship.
In those years, such stars as R. and A. Gandelsman, P. Chernyshev, P. Orlov, R. Novozhilova, S. Glaser, K. Likharev, T. Granatkina (Tol macheva) were in the firmament of Soviet figure skating, who then, already in the post - war period, became coaches and teachers, made a huge contribution to the development of Soviet figure skating.
To show in what directions figure skating was developing at that time, what passions sometimes raged on the stands and ice pads, we give a small excerpt from the book by N. A. Panin Kolomenkin "Figure Skating>, published in 1938 in the publishing house "Physical Culture and Sport>:
"The long struggle of two currents in our pair skating is not without interest.
Under the influence of foreign illustrations depicting the trick numbers of professionals in pair skating, we found imitators of them.
But after all, all these lifts of a woman by a partner on herself, turntables upside down, etc. the numbers are not very difficult and do not require any ability to skate from a woman at all — her role here is purely passive; a skater who is firm on his feet can successfully do all this even with an inanimate object instead of a partner.
In 1929, the adherents of tricks were able to stand out thanks to the novelty of trick figures that give a striking picture.
But a year later, the opposite trend entered the fight with them, working in a different direction along the line of pure figure skating and having a great advantage in a more or less close level of general skating technique for both partners, allowing the best possible uniformity and generality of performance.
In stunt drivers, on the contrary, the woman is always weaker than the partner, and at the moment of separate skating it catches the eye.
Nevertheless, the struggle was at first quite equal and therefore interesting, and until 1933 the success was variable, but since 1934 the anti Tankists have taken the leading place."
The echoes of the struggle between these currents can be observed in one way or another throughout the history of figure skating, including all recent years.
The struggle for harmony, and not only in pair skating, continues tirelessly, and it is pleasant to note that it is the Soviet figure skaters who show the sample here.
In the pre war and post war years, a fairly solid foundation was laid in our country to start fighting in the international arena.
By the beginning of the 50s, the best figure skaters of the country, who successfully performed in the 30-40s, became coaches.
Full of creative ideas and energy, they were filled with the desire to prepare their students so that they could successfully compete for the highest titles at the European, World and Olympic Championships.
Among them, it should be noted such skilled educators as T. A. Tolmacheva and P. P. Orlov — multiple champions of the Soviet Union.
Groups of young athletes formed around them, and became leaders.
Such excellent coaches as T. A. Tarasova, N. I. Dubova, E. G. Pliner also grew up at the State Central Institute of Physical Culture, and V. N. Kudryavtsev, the coach of the first world champion Sergey Volkov, grew up at the Moscow Regional Institute of Physical Culture.
An important role in raising the level of aesthetic content of figure skating was played by a graduate of GITIS, former national champion E. A. Tchaikovsky (Osipova).
The first success was achieved by the students of Pyotr Petrovich Orlov, who for many years passed the" course of sciences " under Panin Kolomenkin.
For three years — from 1958 to 1960 — Nina and Stanislav Zhuk performed brilliantly at the European championships, winning silver medals.
Their appearance on the international horizon was stunning, and the complexity of the programs amazed all specialists.
Unfortunately, the young skaters performed for a relatively short time, but this led to the rapid birth of a new coach — Stanislav Zhuk, who headed the Soviet pair skating school for many years.
In 1964 and 1968, Soviet figure skaters conquered the Olympic peaks of Innsbruck and Grenoble, and in 1969, I. Rodnina and A. Ulanov, students of S. A. Zhuk, became the leaders in pair skating.
For four years, they collected the entire harvest of gold awards at the European and world championships and consolidated their success with an excellent victory at the Olympic Games in Sapporo (1972).
Then A. Zaitsev began to act as a partner of I. Rodnina (if Rodnina is a pupil of the Moscow figure skating school, then Zaitsev grew up on the Leningrad ice).
Together they became Olympic champions twice — in 1976 in Innsbruck and in 1980 (after their family had a child) in Lake Placid.
In the same years, they won the titles of European champions seven times and world champions six times.
S. Zhuk led them to victories for two years, and from the autumn of 1974 until the end of their sports careers, I. Rodnin and A. Zaitsev were coached by T. A. Tarasova.
The distinctive features of the style of I. Rodnina and her partners were high sportiness, richness of programs with complex elements: jumps, unique paths of steps, supports, twists, rotations.
All this was organically intertwined in programs that emphasized the cheerfulness, optimism, and open nature of Soviet figure skaters.
This is what brought them the laurels of winners.
Representatives of the Soviet pair skating were the first to make their way to the world podium.
There were years when five or six of our couples would fight for the right to be the strongest.
T. Zhuk, A. Gorelik, T. Moskvina and A. Mishin, and A. L. Smirnova Sarah Keane, L. Smirnova and A. Ulanov, G. and G. Karelin Proskurin, and later M. Cherkasova and S. Shakhrai, I. Vorobyov beginning with A. Vlasov, then I. Lisowski, M. S. Pestova and Leonovich, finally, E. Valova and Oleg Vasiliev...
What a great list of Champions and prize winners of the biggest international tournaments!
No country can now boast of such achievements!
In recent years, only the American pair T. Babilonia R. Gardner and S. Bass T. Tirbach from the GDR have managed to push, and even then for a short time, our athletes on the world and European podium.
If we talk about the Soviet school of pair skating as a whole, it is distinguished by a variety of styles, an appeal to non standard solutions, a constant desire to create a memorable stage image.
As is usually the case in the history of any sport, the appearance of champions causes an overall increase in sports achievements.
And in Soviet figure skating, following the best sports pairs, representatives of other sports began to make rapid progress.
First of all, the dancers.
They were the last to enter the international arena and sharply lagged behind in their skills.
But it took them only three or four years to get to the podium.
The first to do this was the students of the former USSR champion in odi night skating choreographer E. Tchaikovsky L. Pakhomova and A. Gorshkov.
In 1969, they became prize winners of the European and world championships, and in 1970 — champions onami.
L. Pakhomova and A. Gorshkov, together with their coach, had to fight a hard struggle to strengthen the positions of the Soviet dance school.
And in 1976, they came to the most remarkable victory, winning — the first in history!
- the title of Olympic champions in sports ice dancing.
The winning baton was picked up by I. Moiseeva and A. Minenkov, students of T. Tarasova, and then N. Linichuk and G. Karponosov, students of E. Tchaikovsky, took the lead.
Both pairs have won the titles of world and European champions twice.
N. Linichuk and G. Kar Ponosov became Olympic champions in Lake Placid.
In recent years, the palm of the championship has passed to the founders of sports dancing on ice, the Englishmen D. Torvill and K Dean.
But in 1983, when the British did not compete at the European Championship due to injury, N. Bestemyanova and A. Bukin, T. Tarasova's pupils, ascended to the top step of the podium.
And the silver medalists were O. Volozhinskaya and A. Svinin, who are coached by E. Tchaikovsky.
Our best dance duets are invariably characterized by the brilliant use of choreography, the ability to combine achievements in the field of plastics with the technique of owning skates, an unconventional approach to solving staged tasks, an accurate account of the individuality of the performers.
The most difficult fight is always in the men's competitions.
Today, they have mastered the most complex technical techniques, and the process of complicating programs continues.
When at the beginning of the century Salchow, Lutz, Rittberger, Axel Paulsen invented their jumps and skaters in gratitude for this left their names forever in the names of the elements, no one imagined that someday all jumps would be performed in three turns.
Indeed, today, three turn axels, salhovs, lutz, rittbergers, sheepskin coats, flips are already required to win, and preferably in a full range.
And even in combinations with other jumps.
We need jumps in four turns.
A figure skater should look harmonious, musical, plastic on the ice — in a word, have all the qualities inherent in artistic athletes.
Soviet singles players had to catch up with their foreign rivals for a long time.
In the 50s and 60s, a brilliant galaxy of masters of single skating grew up in the USA, Canada, France, Austria, Germany, Czechoslovakia.
R. Button, A. Jenkins, D. Jenkins, T. Wood (USA), D. Jackson (Canada), K. Divin (Czechoslovakia), A. Kalma and A. Giletti (France), M. Schneldorfer (Germany), E. Danzer, B. Schwarz (Austria) and many others won the hearts of viewers and specialists.
They were joined by skaters of new generations: O. Nepela (Czechoslovakia), J. ' Hoffman (GDR), D. Curry, R. Ka zins (Great Britain), C. Tickner, S. Hamilton (USA), N. Schramm (Germany).
Soviet masters also took an honorable place among them.
And the pioneer was S. Chetverukhin, a pupil of T. Tolmacheva, and then S. Zhuk.
It was he who managed to become the first among our singles athletes to become a silver medalist at the world, European and Olympic Championships (Sapporo).
Chetverukhin had in his arsenal many elements of the highest complexity, but at the same time he remained musical, plastic, and knew how to fight to the end.
The next generation of Soviet singles managed to win the highest awards.
At the European Championship 75, V. Kovalev managed to do this for the first time, who was trained by T. Tolmacheva and E. Tchaikovsky.
And a month later, a pupil of V. Kudryavtsev, S. Volkov, came forward at the World Championship.
In 1977 and 1979, V. Kovalev became the world champion under the guidance of E. Tchaikovsky.
But after that, the Soviet singles only once managed to win a gold award at the European Championship •— in 1981.
This was done by I. Bob rin, who was started by the famous former figure skater Yu.
Ovchinnikov.
The Soviet school of men's single skating continues the best traditions born in the pre revolutionary years and requiring high and harmonious performing skills.
But we must take into account that the best singles players of a number of countries are always from- .
lich has a special temperament, the ability to fight with several very strong opponents at once.
It is no coincidence that for many years in a row, the male champions did not stay on the podium for a long time, and the exceptions only confirmed the rule.
We had to wait the longest for awards in the women's singles.
Only with the entry into the international arena of the student of S. Zhuk E. Vodorezova's case has moved from a dead point.
During 1976-1983.
Vodorezova has climbed the European podium several times, despite the fact that her illness forced her to miss several tournaments.
And in 1983, E. Vodorezova won the bronze medal of the World Championship for the first time.
In women's skating, progress is not observed as clearly as in other sports.
And although the champions and prize winners of recent years A. Petch, K Errat, K Witt (GDR), D. Hemell, L. Fratien, E. Zayak (USA), D. Billman (Switzerland), D.
Lurz (Germany) and other figure skaters — had a rather impressive arsenal of various complex jumps and other elements, the fight was not particularly sharp and interesting every time and was usually accompanied by mistakes that reduced the impression of the athletes ' performances.
Does this mean that it will always be like this?
Of course not.
This is evidenced by the entire history of world and domestic figure skating.
The latest performances of Soviet figure skaters were also marked by new creative achievements.
At the Olympic Games in Saratov in France, the champions in pair skating were T. Moskvina's pupils Elena Valova and Oleg Vasiliev, and the bronze medals were won by Larisa Selezneva and Oleg Makarov, who were prepared for the start by I. Moskvin.
Two sets of medals went to Soviet dancers.
Silver — to Natalia Bestemyanova and Andrey Bukin (coach of T. Tarasov), bronze — to Marina Klimova and Sergey Ponomarenko (coach of N. Dubov).
For the first time in the history of the Olympic Games, the bronze medal was also won by the Soviet single player — K - Ivanova, prepared by two time world champion V. Kovalev.
The record for the number of medals won was set by our masters at the 1985 World Championship, which was held in Tokyo.
The champions were E. Valova and O. Vasiliev, N. Bestemyanova and A. Bukin, single player A. Fadeev, silver medalists L. Selezneva and O. Makarov, M. Klimova and S. Pono marenko, K. Ivanova.
Concluding a brief historical overview of the development of figure skating, it should be emphasized once again that every major master of different generations has those grains of precious experience that is absolutely necessary for the success of both current and future masters.
The study of this experience is mandatory for everyone who strives for progress, for the development of our sport, who dreams of contributing to it. ,
Figure skating: Studies for the Institute of Physics.
a cult.
Under the general editorship of A. N. Mishin.
- M.: Physical culture and sport, 1985.
- 271 s, ill.
Sections Figure Skating (edited by Mishin A. N.) Chapter 1.
Introduction to the specialty
Chapter 2.
The emergence and development of figure skating
Chapter 3.
Physiological features of figure skating
Chapter 4.
Biomechanical basics of the skater's movement technique
Chapter 5.
Aesthetic basics of figure skating
Chapter 6.
Initial figure skating training
Chapter 7.
Mandatory exercises
Basic concepts.
Terminology
General provisions of the technique of mandatory figures
Execution of shape elements
Features of the methodology of teaching compulsory figures
Chapter 8.
Free skating
Steps and spirals
Rotations
Jumping into rotation
Multi turn jumps
Technique of execution and methods of teaching basic multi turn jumps
Chapter 9.
Pair skating
Chapter 10.
Sports dancing on ice
Chapter 11.
Tactics of building short and arbitrary programs
Chapter 12.
Methods of training programs
Chapter 13.
Physical training
Chapter 14.
Psychological training of figure skaters
Chapter 15.
Managing the training of skaters
Chapter 16.
Organization and methodology of long term training of figure skaters in sports schools
Chapter 17.
Mass forms of figure skating work
Chapter 18.
Judging of competitions
Chapter 19.
Research work in figure skating
Chapter 20.
Skater's inventory
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