Skorikへのレビューがロシアのカキコの「ブノワ賞2016部門」に出ました、「決定的」、と言えるかも．．．、「マリインスキー・バレエの、しかもプリンシパルだなんて、とても信じられない」とまで言われちゃいましたね。3者の投稿者全てのコメントに共通するのは、「（全幕ものなどの）役のイメージ・性格・感情などがが全くパフォーマンスに反映されてない、皆無」という点です。ゴメンナサイ🙇、一部のみの和訳です(;^_^A：
１．Mikhail教授（主催者の頭）
Not pleased with Oksana Skorik in a duet from the last act of "Sylvia" Ashton - its large head and thin, do not have a specific shape, legs (would not write about it, but the stories had expected to see a perfect creation, approaching Zakharova - "all lies calendars "). But, most importantly, what really surprised me, because it is an absolute lack of feminine charm and stage charisma. Previously seen her in a duet unnamed couple in "A Midsummer Night's Dream" by Balanchine, if liked. There needed equipment, nothing more, and the duo - something different. But technology, like a ballet dancer has, judging by the numerous panegyrics on the Mariinsky topic Skorik used for other purposes. Pizzicato she danced in puppet style twitches like Coppelia portrayed, and some vanity in his movements, like late somewhere feared. Sticky smile in the adagio at all clear who was meant. All the same choreography in the ballet with difficulty given our girls, Darcy Bassell, who grew up on Ashton and MacMillan, remains unsurpassed Sylvia (although nothing said so, perhaps - remember the great dance Polina Semionova in partnership with Roberto Bolle). Partner Skorik was Philippe Stepin, as more and nothing to say.
「アシュトンのシルヴィアの最終幕パドドゥを踊ったOksana Skorikにはがっかりした。でかい頭と細いからだ（← 逆説的な表現かしら？『小頭と薄いが幅広い体』ですよね、実際は！）、特別な体形ではない、それに、脚（ここでは書かないことにするけど、過去の物語によると、完璧な脚を期待していたねZakharovaに近いような）。けれども、最も大事なのは、実は非常に驚くべきことなんだが、全く女性としての魅力がなく、舞台上のカリスマ性・存在感が皆無ってことだ。以前に、バランシンの『真夏の世の夢』のパドドゥをみたときは良かったかも。ダンサーとしての必要条件はそろってたけど、それ以上のものはなかった、そしてコンビだが － なんか違和感があった。けれども技術はね、バレエダンサーとしてのは持っていたはずだ、過去のマリインスキー部門でのSkorikへの数多くの賛辞（別の目的で使用されたんだけど）から判断するとね。（シルヴィアの）ピッチカート部分は操り人形様のピッピッの突っ突きスタイル、コッペリアみたいなね、空虚に動きながら、まるで時間に遅れちゃってヤバイ状態。アダージョ部分では、誰に向けてなんだか明らかな（← 逆説的な表現ですね！）ひっついたような微笑み。女子達がみんな与えられたのと同じ難解な部分がある振り付けのバレエなんだよ、アシュトンとマクミランで育ったダーシー・バッセルを超えるシルヴィアはいないにしても（まあ、誰かがそう言った訳じゃないけど － 覚えてるかい、ボッレと踊ったセミョーノワの素晴らしい踊りを）。SkorikのパートナーはStepin、これ以上言うことはないよ。
２．Pavlinka
Since it was AI and about Oksana Skorik, I will express a few thoughts Wink
In April and May saw it 4 times, a little bit, but still (Nikia April 9 in SDA Tchaikovsky Gala Balanchine, April 10, Bacchante at Dance Open April 25, the Titania 8 May). It seems to me, Oksana is good in lots of royalty and plotless ballets, but when it comes to sophisticated parties, it is a palette of feelings and emotions is not very diverse. Struck with a minus sign it Bacchante - hands beautifully reveals beautiful legs lifts, but eroticism, sexuality, enticing almost zero. Sensuous Bacchante is impossible. It seems Golding-Bacchus to live with it, holding, hugging, in general, a little chilly tried to be a partner, but the duo was not .Pravda, in the end, beautiful, erotic fallen into his hands.
In "La Bayadere" Nikia Oksana technically successful, but to the image depth is not reached. Anyway, not much moved, - involuntary tears as Katya Krysanova not caused, or touch Nikia tragedy by Diana Cherry has not kept. In "A Midsummer Night's Dream" I was quite good, pleasant, but a little less than before Victoria Tereshkina in the same play.
Oksana is especially good as a performer of individual elements, perhaps some do better than anyone else in the world, but in the play where the heroine diverse, with varying emotions, feelings, mood, etc. Etc.., Does not always create a harmonious way. Again, not much seen, assume you can, but it has come, it is necessary to look .. That is so
３．Natalia（主催者のひとり）
I do not remember if I saw Skorik before admitting that she had seen, but not in significant quantities.
Yesterday I began to understand the reasons for all the debates and battles that are conducted on the forum regarding this dancer. I saw in Skorik diligence, execution of which left no doubt in the fact that it stands for a thorough, laborious work, working out of the rotation, position, the slightest hand movements. I saw the result of efforts (issue only, and shall I, the viewer, who came to see the Aurora, Juliet, Odette, and the like, do not see the image, but the result of efforts). But I never saw him dance, ease, style, did not see even a hint of elegance and polish. In my understanding, when it comes to classical ballet, a dancer on the stage must bear stamp of aristocracy. Absolutely no matter what there is in her social origins, origins, education, etc., but it should have enough flavor, natural intuition and intelligence, to present themselves to the public as appropriate, in the style of the choreography, which she performs. Here in this Skorik was not perfect, and believe me that the dancer of the Mariinsky Theatre, and even prima, I could not.
Unlike Skorik F. Stepin I remembered for performances and concerts, that she had seen at the Mariinsky, in the role of Mercutio, for example. That evening, his performance showed only weak part of his dance and the lack of technical capacity. Tried - yes, but ...
【追記】
４．amber（主催者のひとり）
Oksana Skorik ... I did not expect. After the enthusiasm, after the video was not expecting. Previously I danced in syllables now as if her body is not a single entity, and is made from separate pieces, held together in a hurry. And no pleasure from what he does. Frantically she danced with eyes frozen and pasted a smile. I feel sorry for her ...
「Oksana Skorik、予想と反してた。あれほどの熱狂、あれだけのビデオ、その後で、こんなのは予想していなかった。以前は、まとまって踊っていた、今は、一つの体ではなく、別々の部品を急いで一つにまとめたよう。そんでもって、踊りからは何の喜びも発信されていない。半狂乱で、目は凍り付き、張り付いたような微笑みとともに踊った。気の毒に感じたよ．．．」
５．MB（← おそらく、russianballetvideos2、つまりアレックスおじさんだと思います）
Very interesting you wrote, dear amber. [For Oksana Skorik I was hurt again, so much effort, so much affected by the eight years of the personal policy management Mariinsky ballet troupe, but in the end nothing again - ABT at not being invited, she was not allowed Benoit.]
「興味深いコメントだよ、amber － 『Oksana Skorikについては、またもや動揺してしまった。あれだけの努力と、大きな影響とともに、この8年間というものマリインスキーの上部の方針で、バレエ団を犠牲にしてきたってのに、結局はモノにならなかった － ABTからの招待もないし、ブノワ賞だってもらえなかったし。』」