TOI Evaluation Criteria

1st Mark : Technique of Performance
The content elements of each criterion defined below are evaluated according to their preponderance in the presented work

I-1. Utilization of the ice, utilization of space, and the organization of formations
Space treatment in its 3 dimensions
Use of ice surface
Depth of field work (profondeur de champ)
Use of oblique / lateral movements
Group movement on lobes / curves
Use of verticality : use of lifts and jumps
Group organization
Alternation of large and small groups, two-person teams, individuals
Variety in formations
Exchanges and mode of relationship (The quality of exchange is treated in criterion I-3)
Use of transitions and links
Exchanges (what internal life in subgroups)
Multiplicity of exchanges
Remaining to do : define gradation

I-1. Utilization of the ice, utilization of space, and the organization of formations
Space is treated in its 3 dimensions, in connection with the theme of the performance
Utilization of all compositions (groups) in relation with the theme
Excellent quality of execution of formations and transitions
Excellent relations between skaters within the groups
Good exchanges between the groups and with the environment
Utilization of mainly 2 dimensions
Some moves are poorly executed (e.g. distance between skaters is not respected)
Skaters are covering the ice but poor connection with the theme
Only a few variations in the groups
Only a few exchanges and transitions between groups
Utilization of only one dimension
Few oblical or lateral moves
Performance is from blue line to blue line
Few variations in the groups
Lack of exchanges, lack of relations, lack of interaction between skaters
Skaters skate for themselves even though they belong to the group

I-2. Quality of movements, including body positions
Complex body movements
Dissociation (chest, legs / trunk / arms different orientation, …)
Originality of body movements, research
Complex glide: direction changes, mastery of Ice-skating richness
Intermediary body movements
Association of movements (legs and head, arms and legs, …)
Exploitation of the body as a whole
1-foot glide, in edge (note: a static choreographic movement which makes sense in the choreography will not be penalized)
Simple body movements
Individual or fragmented, symmetrical without dissociation (One movement, then another one)
Lack of gliding, static (glide is privileged in ice sports)
CURSOR in each box : Fluidity, Skaters’ involvement into the choreography

I-3. Quality of ensembles and rapport between the skaters themselves and groups of skaters
Use of differences between skaters
Use of skaters’ variety in the construction of the performance: size, level, …
Cohesion and team spirit during movements
Harmony, symbiosis, unison: movements are sustained by the relationship between skaters and music
The richness of exchanges between individual skaters and the group, from subgroup to subgroup, between the group and its environment (the audience, the setting / the accessories treated as characters, …)
Consistency of connections and transitions (« the subgroups melt ») from one ensemble to the next

I-3. Quality of ensembles and rapport between the skaters themselves and groups of skaters
Differences between skaters are harmonized
Utilization of skaters’ strong points
Harmony, symbiosis and unison
Complete cohesion of the group
Consistency and complexity in the transitions (steps, music, gesture)
Differences between skaters are used but poorly achieved (the better and the weaker skaters are visible)
No emotion in the team’s restitution
Several skaters alter harmony
Scenery and accessories are used, but in an unfinished way
Exchanges, relations and transitions exist, but are not constant
All skaters execute simple steps, the team is aligned to the lower level
Poor utilization of differences between skaters
Skaters do not master their choreography (hesitation, confusion, copy)
Skaters listen poorly to their music
Scenery and props are poorly exploited, with poor relation to the theme
No exchange, no relations, no transitions

I-4. Performance of technical elements (Steps, spins, lifts, jumps, twizzles…)
It is suggested to integrate at least 3 types of the following elements in a performance. They have to be performed in group movements. They will be evaluated depending on their difficulty, their quality, their variety, in keeping with the meaning of the choreography:
Jumps or flights
Difficult and well executed
Difficult, yet poorly executed
Simple and poorly executed
Pirouettes or rotations
Jumped, complex, with position changes
Simple, without change of position or foot
Standing
Steps
Complex, in complex sets, in music
Difficult, poorly executed, without relation with music
Simple and poorly executed
Attitudes
Complex, on edge, change of positions & dir.
Difficult but poorly executed
Simple and on a straight line
Lifts
Dynamic lift while gliding
Simple and moving, or complex and poorly executed
Simple, on the spot

I-5. Overall strength of skaters on the team as a whole (gliding, edges, flow)
Glide
Speed
Change of pace
Fluidity
Line of free leg and body
Parallelism of free legs while gliding
Edges
Deep, steady, sure, without noticeable effort
Quality, variety, complexity, originality of the steps, turnarounds, difficult positions of the body in parallel with the steps and the edges
Supports
Quality, variety, complexity (short, long, light, heavy, …), originality of the supports
Use of the skating quality with the music (rhythm and melody, accentuation,…)
Transitions between movements
Remaining to do: define gradation

I-5. Overall strength of skaters on the team as a whole (gliding, edges, flow)
Excellent speed, frequent changes of rhythm, fluidity
Excellent body line and free legs
Deep edges without apparent effort
Quality, variety, complexity, originality of steps and turns
Quality of supports with variety and complexity
Full mastery of balance
Skating in cohesion with the music throughout the performance
Average speed or poorly mastered speed
Few change of rhythm
Body line and parallelism of free legs poorly mastered
Complex yet poorly mastered steps
Lack of originality in the supports
Lack of cohesion with music at times
Slow, no changes of rhythm, lack of fluidity
Lack of body line and free leg positions
Toe push, skating on two feet, lack of edges, no complexity in steps
Poor utilization of music

2nd Mark : Artistic

II-1. Creation of a universe taking into account the choreography and its execution
Music and modes of relationship to the music
Constistency, non redundancy, originality, creativity
Cleanness of the cuts in the soundtrack
Theatrical treatment – role of scenery, costumes and accessories
Relevance, non redundancy, the way they broaden the theme
Right use of the settings, the costumes, the accessories
Cleanness of costume and scenery changes
Universe is rich, complex and subtle, it drags me into a belief
Standardized universe
Sound and theatrical universe are consistent and provides keys of understanding
But they do not bring creation
The theme, sound, scenery and costumes are redundant
Universe does not exist, it is not created

II-2. Originality and creativity of the performance as a whole
Consistency is visible, performance is original and creative
Continuous development of theme
Well exploited abstract
Well exploited literal
Originality, creativity
Consistency and meaning are there, but lack of originality
Originality is there, but lack of consistency
Trivial
Poor treatment of abstract
Poor treatment of literal
Confusing, unreadable, theme is inconsistent

II-3. Theatricality of the performance
Interpretation is good
The team has appropriated the theme and clearly interprets it
Interpretation is adapted to the theme and technical level
Movement is interpreted in a musical way
Movements are fluid, body is breathing
Attempt, endeavor
Ditto, but with less accuracy and maturity
Expression is there, yet it is mostly physical and facial
Recitation: team just does what it was taught to do