【奧林匹克式舉重動作不能捨棄的理由】
分享《The System: Soviet Periodization Adapted for the American Strength Coach》書中對奧林匹克式舉重的看法。該書的作者們並沒有否定專項訓練的重要性,但強調現階段(美國許多力量教練)用其他動作「取代」奧林匹克式舉重是不智的作法,主要的理由是上膊和抓舉能訓練到「大範圍動作」與「全身性」的「爆發力」與「速度」。下面附上原文、我的譯文和懸垂式上膊的訓練側拍影片:
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#以下為譯文,最後附上原文,若有發現翻譯不到位或有問題的地方,非常歡迎也希望各界指正!
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近年來,隨著人們越來越重視力量訓練中的安全性,以及所謂的「專項力量」訓練,奧林匹克式舉重動作已不再受到許多力量教練的青睞。主要的理由是,如果運動員不是要參加奧林匹克舉重比賽,有更好的爆發力訓練動作可以選,它們更容易轉化為運動賽場上的成績,而且這些動作不用移動那麼大的重量,所以對身體的壓力與風險會低很多。
為了甩開風險,有許多擲藥球或更有創意的動作已經在許多運動團隊的力量課表中取代上膊、抓舉、挺舉。在我們看來,這個鐘擺甩得太遠了,這些動作一直都能培養出世界上最強、最具爆發力運動員,現在卻要完全捨棄,實在太過極端。
我們要瞭解奧林匹克式舉重動作的主要目的是:通過「大範圍的動作」(特別是下肢)在全身產生最大的爆發力。
專攻奧林匹克式舉重選手和特別注重專項力量訓練的選手,這兩者的訓練課表,你最常發現的區別是:舉重選手是透過大範圍且快速的動作來訓練下肢;換言之,後者的動作幅度大都比較小。很多教練出於善意,使用了許多替代舉重的練習動作,但這些練習並沒有辦法達到舉重動作所需的柔韌性、協調性與力量輸出。
使用奧林匹克式舉重動作可以訓練到關節在較大彎屈幅度時的爆發力和穩定度,那也是身體在賽場上可能會碰到的幅度。(譯者註:當然對純跑者和泳者來說就並非如此了,不過自行車選手和大部分的球類運動相當符合)
一位運動員在進行完整的抓舉、挺舉時,如果進步太快或是沒有經過正確的指導再加上大重量,的確會導致受傷。但所有的訓練動作都是這樣,只要進階太快、操作不當或重量太重都會受傷,所以問題不在動作,而在於教練沒讓運動員準備好。
像美式足球或籃球這種運動的動作幅度很大,執行動作時需要高度的柔軟度與力量;在提升這些能力上,奧林匹克式舉重動作會比擲藥球的訓練更有效率。這些動作並不危險,只要你能先評估他們的身體是否有能力安全完成這些動作,事先對舉重動作進行規劃與指導,以及循序漸近地增加重量和動作難度,那麼很多顧慮都會消失。
當你能有效且適當地進行奧林匹克式舉重訓練,你會發現它的好處遠遠大於缺點。
(但作者也強調並不是每個人一開始都適合練奧林匹克式舉重動作)
一開始先別進行大量且高強度的奧林匹克式舉重訓練,最好先等到運動員們至少已經練了幾年之後才能大量的練。如果他們在早期要發展爆發力,可在運動員學習和改善舉重動作時先進行「跳躍」與「增強式訓練」。
無論什麼動作,練熟了動作的技術之後,接下來「速度」是第一位。雖然體育界很重視力量和肌肥大,但力量所表現出來的速度才是真正分出運動員實力差異的關鍵所在。
在健力(powerlifting)比賽中,動作的速度並不重要,目標是舉得更重,不管花多長時間,比賽結果只看重量。但在美式足球場上,最強壯的線鋒球員若不能迅速將力量轉化為控制對手防守球員的能力,他們就不能算是成功的進攻組球員。同理,一位能肩推數百磅重的鉛球選手,如果他不能用全身的力量來加速擲出鉛球,他也將無法把獎牌帶回家。
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#原文如下
THE OLYMPIC LIFTING CONTROVERSY
In recent years with the increasing emphasis on safety in strength training and what is termed “sport specific” training, the Olympic lifts have fallen out of favor with many strength coaches. The argument is that if you are not competing in Olympic lifting, there are better options for training explosive strength that translate more readily to sports performance, without the risks and strain inherent in rapidly moving heavy weights.
Variations of medicine ball throws or more creative exercises have taken the place of cleans, snatches, and jerks in the strength programming of many teams as coaches try to reduce those risks. In our opinion, the pendulum has swung too far away from using the movements that have consistently produced the strongest and most explosive athletes in the world.
The main goal of the Olympic lifts is to generate maximal power and explosive strength in the entire body through large ranges of motion, particularly for the lower extremities.
The differences you will most often find between the training regimen of an Olympic weightlifter and of athletes performing more “sport specific” training are that weightlifters consistently take the lower extremities through high-speed, large range-of-motion exercises. Many of the substituted movements and exercises used by a well-intentioned strength coach do not come close to demanding and developing the flexibility, coordination, and force output demanded by the weightlifting exercises.
It is true that subjecting an athlete to a full snatch or jerk with a substantial amount of weight without the proper instruction or progression will often result in injury. However, that holds true for any exercise. It is not the fault of the exercise, but rather the coach’s fault for failing to prepare the athlete to succeed.
Dynamic sports like football or basketball require suppleness and strength expressed through large ranges of motion; the Olympic lifts are more effective at facilitating those qualities than a medicine ball toss. If you assess an athlete to be physically capable of performing the movements safely and if the lifts are programmed and coached effectively and progressed in both weight and complexity, many concerns diminish.
You will discover that when implemented effectively and appropriately, the benefits of the Olympic lifts far outweigh the drawbacks.
A significantly high volume of Olympic lifting is best left to the athletes with at least a few years of training under their belts. For developing athletes such as these, the power and explosive qualities can be addressed through jumping or plyometric training as the Olympic lifts are coached and refined over time.
After mastering technical efficiency and form, no matter what the movement, speed should always be the priority. Although strength and muscle hypertrophy are important in the world of sports, the rapid expression of that strength is what separates athletes on the field of play.
In the sport of powerlifting, the speed of the movement is not critical. The goal is to lift the maximum weight, however long it takes. On the football field, the strongest linemen will rarely succeed if they cannot rapidly translate that strength to control an oncoming defender. A shot putter who can military press hundreds of pounds will not take home a medal without the ability to explosively accelerate the entire body to throw the shot.
(extracted from page 101~102)
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若有發現翻譯不到位或有問題的地方,非常歡迎也希望各界指正!
同時也有4部Youtube影片,追蹤數超過19萬的網紅National Football News,也在其Youtube影片中提到,UNDISPUTED - Skip: "I see Tom Brady will throw 4 TD in Super Bowl LV" | Buccaneers vs Chiefs...
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<脫口秀小訣竅中英翻譯-靈感篇>
文長注意!
之前小歐在脫口秀社團po了外國佛心大神脫口秀演員Gary Gulman,在twitter上連載的366個脫口秀小訣竅。
小妹就認領了靈感篇來翻譯。以下為22個小訣竅的中英文對照,若有翻的不盡理想的地方,請留言詳述,我會再看怎麼修改。原文和網誌版會放在留言處,方便大家查看。
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Ideas
靈感
Tip No. 41: You know those quirky little things you do and think? Collect them in a file or on paper. Even if you’re a storyteller, you can use these as details to add depth and distinction to your jokes.
你了解自己做或想的古怪小事嗎? 把他們記錄在紙上或檔案夾裡。即使你是講故事的人,也可以將這些內容作為細節,以增加笑話的深度和特色。
GARY'S FAVORITES
Gary(原作者)的最愛
Tip No. 45: Don’t Hoard Jokes
Don’t worry about “burning” material on a special or album. Hoarding jokes may signal to your brain that you’re out of ideas. “You can’t use up creativity. The more you use, the more you have.” — Maya Angelou.
不要囤積笑話。不要怕在演出或專場用光自己累積的材料。囤積笑話會對你的大腦發出信號,暗示你已經沒有想法。如同Maya Angelou所說:”你無法耗盡創意。 你使用的越多,你擁有的就越多。”
Gary’s thoughts on Tip No. 45: This attitude has been crucial to an unprecedented streak of creativity over the last two years. I’ve written four hours of material, which is almost as much as I wrote in my first 23 years of comedy. Most important has been my health, this idea may be second.
Gary對此建議的想法: 在過去兩年中,這種態度對我的前所未有的創造力,有著至關重要的影響。我已經寫了四個小時的素材,這幾乎與我前23年的喜劇寫作一樣多。最重要的是我的健康,這個想法則排名第二位。
Tip No. 62: Look for inspiration everywhere. Paintings, music, poetry, rap, novels, nonfiction, short stories, theater, philosophy, etc. can all provide a spark for creativity. Cross-pollinate your work with broad influences and watch your creativity grow.
在各處尋找靈感。繪畫、音樂、詩歌、饒舌、小說、非小說、短篇故事、戲劇、哲學..等,都可以為創造力提供火花。以廣泛的影響力對你的工作進行異花授粉(原文:cross pollination,藉由風或昆蟲從別的花獲得繁衍的花粉),並觀察你的創造力增長。
Tip No. 63: Write it all down while the coffee is still telling you you’re mighty. Reread after you’ve turned back into Dr. Banner (yes he’s a genius, but not as self-confident in that condition). That buzz is so valuable but needs editing.
在咖啡發揮效果告訴你”你超棒”的時期,把所有想法寫下來。當你回復成原本的自我 (原文: Dr. Banner,也就是尚未變身成綠巨人浩克的班納博士,是個缺乏自信的天才)時,重讀一次剛才的寫作。思緒激昂(原文:buzz,也有微醺、很鏘的意思)很珍貴,但需要編輯。
GARY'S FAVORITES
Gary(原作者)的最愛
Tip No. 90: After a Good Set, Brainstorm
You just had a great set. Instead of celebrating, use that hour or so after when the synapses are still firing and your confidence is soaring to voice record or write down the ideas that pop up during that especially fertile creative time.
如果你剛完成一場精采的表演,不用太早慶祝,要在大腦突觸仍在觸發、信心爆發、靈感特別豐腴的創作時間裡,把突然出現的想法錄音或寫下,再多花一個小時左右的時間繼續創作吧。
Gary’s thoughts on Tip No. 90: Huge help in making jokes that work longer and coming up with tangents and inspired ideas.
Gary對此建議的想法: 這建議在創作笑話的過程中提供巨大幫助,並提供變化和啟發性的想法。
Tip No. 92: Notice where you do your best thinking. The shower? Running? Listening to music? Not listening to music? Driving? Walking? Make sure to put yourself in the places where you’re doing your best thinking as frequently as possible.
你有注意過你在哪個’場景最能好好思考嗎。沐浴時?跑步時?聽音樂時?不聽音樂時?開車時?走路時?請盡量把自己放在最適合思考的場域。
Tip No. 132: I think you can limit frustration and discouragement by writing just a page on a new premise before trying it out onstage. See if there’s anything there before you spend a day on a new joke. But if you’re truly excited by the new idea, keep going!
我認為你可以在上台試笑話之前,先寫一頁的新前提,這可以限制你的挫敗感和沮喪感。在你花一整天開發新笑話之前,先研究前提是否可挖掘。但是,如果你真心對這個新點子感到興奮,那就放手去做吧!
Tip No. 143: Listen to strangers’ conversations. (I tell myself it’s not impolite if they’re being super-loud.) I got “How Dottie is that?” when a supercilious woman named Jodi bragged “How Jodi is that?” “So Jodi,” her friend replied.
偷聽陌生人的對談(我都告訴自己偷聽並不是沒禮貌的行徑,是他們講話太大聲了)。我有一次聽到一個名叫Jodi的膚淺女人吹噓"How Jodi is that?",她朋友回覆:"So Jodi",我因此想出了我的 “How Dottie is that?” 笑話。
Tip No. 157: Need new joke ideas? Be sensitive. If you’re uncomfortable with that word, use “irritable” (or grow up). A lot of good comedy comes from reaction to injustice or discomfort large and small, which requires being hypersensitive to those feelings.
需要新的笑話創意嗎?保持敏感。如果你對這個詞不滿意,請使用“煩躁”(或成長)。 許多優秀喜劇源自於對不平等或不適的大大小小的反應,產生這些感覺都需要保持敏感。
Tip No. 217: “All art is autobiographical. The pearl is the oyster’s autobiography.” — Federico Fellini. Purposefully mine your personal history for your act. Your life is a wellspring. Dig deep.
Federico Fellini說過:“所有藝術都是自傳。珍珠是牡蠣的自傳。”有目的得挖掘你的個人經歷,以作為你的演出。你的生活是靈感之源。請深入挖掘。
Tip No. 241: Many of your favorite writers include the same themes/subjects/objects/interests repeatedly in their work. Don’t be afraid to return again and again to your passions and obsessions to explore and expound.
你最愛的許多作家,都會在他們的作品裡重複探討相同的主題/目標/對象/興趣。不要害怕在你的熱情和沉迷之處,一次又一次得重複探索和闡述。
Tip No. 285: Explore unusual angles in a joke. Example: Examine things from the POV of a child or an Expert. My man Jimmy P and I still laugh over his “Martian response to high school football practice: Why are the hard-heads (players) taking orders from the small soft-heads (coach)?”
在笑話中探索不尋常的觀點。例如:從孩子或專家的視角觀看事物。我和我的兄弟Jimmy P仍會為他的笑話大笑:“火星人對高中足球訓練的反應:為什麼硬頭(球員)會從小型軟頭(教練)那裡得到命令?”
Tip No. 297: One of the miracles of comedy is that you can get redemption for suffering, small and large, by making something funny with it. When you are ready, try to write something funny about your mistakes, setbacks, or even tragedies.
喜劇的奇蹟之一是,藉由使事情變得有趣,你可以從大大小小的苦難中得到救贖。 當你準備就緒時,請嘗試寫一些有關你的錯誤、挫折甚至悲劇的有趣訊息。
Tip No. 298: Skim your life for the unusual events and activities that you can’t believe you were a part of or that people can’t believe you were a part of. Then write about it! Back row No. 93 MULLET:
No. 93後衛MULLET: “瀏覽你一生經歷過的、你或別人不敢相信你參與其中的奇特事件和活動。然後把它寫下來吧!“
Tip No. 310: When it comes to solving the puzzles that are our jokes, draw on every area of knowledge, expertise, and talent. It’s so gratifying to use a fact, a lesson, or a memory from elementary school, high school, or elsewhere to fill in the joke.
在解決我們玩笑的難關時,請利用各個領域的常識、專業知識和才能。用小學、高中或其他地方的事實、課業或回憶來充實笑話,會非常令人滿足。
Tip No. 311: Some of your best ideas will come to you in the shower. There’s science behind why it happens. Get a shower notepad if you have trouble remembering your ideas. Don’t listen to music. Listen to your thoughts. Ruminate on tonight’s set or a new joke.
洗澡時,你可能想到一些最好的點子。這現象的發生原因有科學依據。如果你難以記住自己的想法,請準備淋浴記事本。不要聽音樂。聽你的想法。用今晚的場景或一個新的笑話來反思。
Tip No. 313: Try teaching or informing the audience about something through some of your jokes. We love to learn while being entertained and vice versa. You have knowledge? Put it in your act! Just make sure it’s funny.
試試看通過講笑話來教導或告知聽眾新知識吧。我們喜歡在娛樂的同時學習,反之亦然。你有新知識嗎?把它放在你的演出!只要確保它很有趣就行。
Tip No. 327: Going home for Thanksgiving? Take copious notes! Your family is unique. Being reminded of the dynamics and adding new memories will be great resources for your act. “Family isn’t a word. It’s a sentence.”
逢年過節你會回家和家人團聚嗎?做大量筆記!你的家人是獨一無二的。記住動態場景並添加新的記憶,這會是你表演的寶貴資源。“家庭不是一個詞。 而是一個句子。”
Tip No. 331: There are great stories from our lives that we’re not able to translate into stand-up. Don’t throw them out. Collect those stories in a file for radio and TV and other interview situations.
我們生活中有許多很棒的故事,但我們無法將其轉化為脫口秀。可是不要把它們丟掉。要將這些故事收集在資料夾裡,以後在進行廣播和電視或採訪時可能用的到。
Tip No. 340: Volunteer! Especially if you don’t have a day job. There are so many opportunities to help. You will do good and have something new to write about. In NYC we have New York Cares. One year we decorated an elementary school for Halloween.
如果你沒有正職工作,當志工吧!你會有很多機會能幫助別人。你會做得很好,並有新的事情能寫。在紐約,我們設有紐約關懷中心。今年我們為萬聖節裝飾了一所小學。
Tip No. 358: I have recently started audio recording all notes sessions (for projects), and next time I pitch jokes with a friend I will record that too. It’s very helpful. You will be surprised at what you forgot when you listen back. Ask permission first.
我最近開始錄製所有筆記會話(用於專案)的錄音檔,並且下次我與朋友開玩笑時,我也會錄音。這非常有幫助。當你回聽時,你會驚訝於你忘記了什麼。但錄音前請先徵得許可。
Tip No. 360: Spending holidays with kids? Pay attention to them. Listen to them. Take note and embrace their curiosity and enthusiasm within your writing. (Also avoid the “kids these days” writing. It’s lazy.) Merry Christmas from your second favorite long-haired Jew.
和孩子一起度假嗎?注意觀察他們。聽他們說話。寫下你觀察到的東西並注意,並在寫作中懷抱孩子們的好奇心和熱情。(不要流水帳的寫“現在的小屁孩都如何如何”。這很懶。)你第二喜歡的長髮猶太叔叔在此祝你聖誕快樂(註,原作Gary是猶太人)。
football throw in 在 Simon Twu 涂世旻 Facebook 的最佳解答
Throw Back to the Origin of Football, did you know?
It is widely assumed that the word "football" (or "foot ball") references the action of the foot kicking a ball. There is an alternative explanation, which is that football originally referred to a variety of games in Medieval Europe, which were played on foot. There is no conclusive evidence for either explanation.
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football throw in 在 部長 Youtube 的精選貼文
完整入圍名單如下:
【最佳影片】
《賽道狂人》
《愛爾蘭人》
《兔嘲男孩》
《小丑》
《她們》
《婚姻故事》
《1917》
《從前,有個好萊塢》
《寄生上流》
【最佳導演】
《愛爾蘭人》馬丁史柯西斯(Martin Scorsese)
《小丑》陶德菲利普斯(Todd Phillips)
《1917》山姆曼德斯(Sam Mendes)
《從前,有個好萊塢》昆汀塔倫提諾(Quentin Tarantino)
《寄生上流》奉俊昊
【最佳男主角】
《小丑》瓦昆菲尼克斯(Joaquin Phoenix)
《婚姻故事》亞當崔佛(Adam Driver)
《教宗的承繼》強那森布萊斯(Jonathan Pryce)
《痛苦與榮耀》安東尼奧班德拉斯(Antonio Banderas)
《從前,有個好萊塢》李奧納多(Leonardo DiCaprio)
【最佳女主角】
《茱蒂》芮妮齊薇格(Renee Zellweger)
《婚姻故事》史嘉蕾喬韓森(Scarlett Johansson)
《她們》瑟夏羅南(Saoirse Ronan)
《重磅腥聞》莎莉賽隆(Charlize Theron)
《Harriet》辛西婭艾利沃(Cynthia Erivo)
【最佳男配角】
《從前,有個好萊塢》布萊德彼特(Brad Pitt)
《教宗的承繼》安東尼霍普金斯(Anthony Hopkins)
《A Beautiful Day in the Neighborhood》 湯姆漢克斯(Tom Hanks)
《愛爾蘭人》艾爾帕西諾(Al Pacino)
《愛爾蘭人》喬派西(Joe Pesci)
【最佳女配角】
《婚姻故事》蘿拉鄧恩(Laura Dern)
《重磅腥聞》瑪格羅比(Margot Robbie)
《她們》佛蘿倫絲普伊(Florence Pugh)
《李察朱威爾事件》凱西貝茲(Kathy Bates)
《兔嘲男孩》史嘉蕾喬韓森(Scarlett Johansson)
【最佳動畫長片】
《大冒險家》
《克勞斯:聖誕節的秘密》
《馴龍高手3》
《隻手探險》
《玩具總動員4》
【最佳剪輯】
《賽道狂人》
《寄生上流》
《愛爾蘭人》
《小丑》
《兔嘲男孩》
【最佳原著劇本】
《鋒迴路轉》
《從前,有個好萊塢》
《1917》
《寄生上流》
《婚姻故事》
【最佳改編劇本】
《小丑》
《愛爾蘭人》
《她們》
《兔嘲男孩》
《教宗的承繼》
【最佳攝影】
《愛爾蘭人》
《小丑》
《燈塔》
《1917》
《從前,有個好萊塢》
【最佳外語片】
《另類神父代理人》(波蘭)
《大地蜜語》(馬其頓)
《寄生上流》(韓國)
《悲慘世界》(法國)
《痛苦與榮耀》(西班牙)
【最佳原創音樂】
《小丑》
《她們》
《婚姻故事》
《1917》
《STAR WARS:天行者的崛起》
【最佳原創歌曲】
《玩具總動員4》I Can’t Let You Throw Yourself Away
《火箭人》(I'm Gonna) Love Me Again
《Breakthrough》I’m Standing With You
《冰雪奇緣2》Into the Unknown
《Harriet》Stand Up
【最佳混音】
《星際救援》
《賽道狂人》
《小丑》
《1917》
《從前,有個好萊塢》
【最佳音效剪輯】
《賽道狂人》
《小丑》
《1917》
《從前,有個好萊塢》
《STAR WARS:天行者的崛起》
【最佳美術設計】
《愛爾蘭人》
《兔嘲男孩》
《1917》
《從前,有個好萊塢》
《寄生上流》
【最佳妝髮】
《重磅腥聞》
《小丑》
《茱蒂》
《黑魔女2》
《1917》
【最佳服裝設計】
《愛爾蘭人》
《兔嘲男孩》
《小丑》
《從前,有個好萊塢》
《她們》
【最佳視覺效果】
《復仇者聯盟:終局之戰》
《愛爾蘭人》
《獅子王》
《1917》
《STAR WARS:天行者的崛起》
【最佳紀錄長片】
《美國工廠》
《The Cave》
《民主邊緣》(The Edge of Democracy)
《親愛的莎瑪》
《大地蜜語》
【最佳實景短片】
《Brotherhood》
《Nefta Football Club》
《The Neighbors’ Window》
《Saria》
《A Sister》
【最佳動畫短片】
《Dcera (Daughter)》
《Hair Love》
《Kitbull》
《Memorable》
《Sister》
【最佳紀錄短片】
《In The Absence》
《Learning To Skateboard》
《Life Overtakes Me》
《St. Louis Superman》
《Walk, Run, Cha-Cha》
💰【贊助】成為優秀部員: https://goo.gl/IvPFMS
►馬上訂閱部長👉https://goo.gl/fhng5L
►Discord:https://discord.gg/AWMTN5k
#部長評電影 #奧斯卡入圍
football throw in 在 つちやのぶゆき 世界消しサカ協会Nobuyuki Tsuchiya WEFA Youtube 的最讚貼文
Eraser soccer rule book
What to prepare
○ Field (table)
・ Size (recommended size)
90cm to 150cm long
Next 55cm to 95cm
Best (meeting size) → 120cm × 75cm
○ Goal
・ Size → width 20cm x height 5cm
○ Ball
・ Dice 8mm
○ Player
・ Rubber figure
If you have the basic shape of a humanoid two-legged, you can also make your own or processed. Spherical and vehicle types are not possible.
・ Basic painting is not allowed. However, dirt that is not wiped off (does not stain the opponent or pitch) is acceptable.
・ Size → Within 10cm width
• Be independent with no more than two legs. Part of the body, such as the tail that touches the ground, is allowed if the ground contact area does not exceed the back of both feet.
○ Ballpoint pen
・ Commercially available stationery with a spring-type knock.
・ Things that do not stain desks and figures.
Please see the video for a simple game flow from setup.
○ Player / ball fall
A player who falls from the field (desk) stands with one foot on the foot of the fall. However, the players who fall at the same place together will shoot one play first in the system that the player who has been involved gets the priority. The dropped player then resumes at the same point. Even if you have the right to play continuously without the ball falling, if you lose the opponent, you will lose continuous play.
○ Indirect free kick
①Side touch line
Throw-in when kicking (kick-in)
→ If a player who falls or falls at the same time as the ball falls is placed in a position where it will interfere with the kick-in, it will not return to the field until the kick-in is complete.
→ The kicking side can freely choose a kicker player from a teammate on the field. You can choose the side to kick the dice roll.
→ If the kicker has one foot on the line where the ball comes out, the direction and the position of the ball can be adjusted freely.
→ If you go directly to the goal, you won't go even if you hit a teammate or opponent. The opponent's goal kick.
→ The kicker after kicking will stand in the same position and play. You can't go back to where you were. (Same for goal kick)
②Goal kick
→ Goal kick when the attacking side breaks the goal line outside the opponent goal frame.
→ As with kick-in, you can choose a kicker from the field. Freedom on the kicking side.
→ If you are on the same side goal line, you can freely choose the point to kick.
→ This is an indirect FK, so if you score directly, it will be the opponent's goal kick.
※ Indirect free kick commentary video ↓
https://youtu.be/3GRf3bcFA-U
○ Direct free kick with foul
→ Foul if the opponent is pushed 10cm or more.
A free kick is given to the opponent directly from the point where the player hits regardless of the area.
The defender must place all players within a 10cm radius of the ball at a distance of 10cm or more. (It is possible to make a wall using these players)
A foul within 10cm before the goal can be placed in line with the goal line without overlapping, but other players cannot be placed in front of the goal.
※ Foul and direct free kick commentary video ↓
https://youtu.be/tzEGUMpARhQ
○ PK * Applicable only when not settled in time
→ The attacker can shoot with a favorite player who chooses from the field from the PK mark 20cm from the goal line.
→ The defender may place a total of 3 GK and 2 field players in front of the goal.
→ Basically, like soccer PK game, after 5 to 5, if it is a tie, it is a sudden death format.
※ PK game commentary video ↓
https://youtu.be/piY68NtR1AQ
ー ー ー ー ー ー ー ー ー
Now we are delivering digests of all matches for the Eraser Football League !
Click here for the opening game
↓
https://youtu.be/BLhoRDaMNzc
Click here for the tournament page with league results
↓
https://youtu.be/BZxrqTUWEqQ
This video uses only iPhone for shooting, editing, translating and posting.
Soccer × golf × shogi = eraser football
Slow footage, 10-second video, 1 population, Knights Nobuyuki Tsuchiya
消しゴムサッカー、消しサカ、キン消しサッカー、ナイツ 土屋伸之、国際消しゴムサッカー協会、
Dream is World Cup!
Everyone's super play posting is also welcome!