...it is much more nice and easy to sit and listen someone playing than doing your supposed job.
I agree. The difference between playing and practicing was highlighted to me from a very dear teacher of mine when I was younger who was the first one that pointed out I had no method as to how I learnt my music and I should so that I can take control of how I learn. She taught me tools like separating the music into parts, creating exercises to conquer technical difficulties in pieces, how to change rhythms to deal with long strings of notes which you wanted to play evenly etc etc. From her methods I found a whole lot of other things that could be built upon it and new ideas that worked for me that I started to develop. I also noticed that some things that helped me a huge amount (like drawing shape that the black and white notes created from chord,scale and other forms for example) didn't help others as much who where not perceiving events as I enjoyed. One young student of mine who was around 7 years old at the time told me how she saw combinations of her fingers, like 12 was a pinch, 13 was a flick, this made me consider other combinations of fingers and what they felt like, like in RH 123 was bottom half, 345 was top half, 234 was middle fingers, 15 outside fingers and so on. Some students really find it easier to learn their music if they know what parts of their hands are activated and which order they run in.
So in the end you see everyone works a little differently, but even if you find one style of analysis not as helpful for you it is helpful to try to understand them and try to use them, perhaps in time they will become easy for you to use and the more tools you have to learn your music the more efficient you become.
Sight reading which is really a vast topic to discuss, is a critical skill to develop if you want to keep your rate of learning high also and allows you to put more of your music through analysis than you otherwise would. It is also a more natural approach to your music rather than brute force memorizing one bar at a time. But sight reading is fraught with dangers, you can easily play without emotion or sloppily, you can easily abandon ever memorizing music again if you do not know how to make a two way bridge between conscious memory with muscular and sound.
It is rather tricky when one talks about sight reading and separates it from muscular and sound memory. In fact all good sight readers have plenty muscular memory and sound memory experiences. They have learned a great deal of music and understand many different procedures that their hands can undergo. The thing is that pure sight readers cannot remember exactly what to do without the score, they cannot rely on hearing the sound in their head to cause a reaction to their hands because they are so used to letting their eyes tell the hands what to do, likewise they cannot completely rely on the feeling on their hands to tell them where to go next because again it is their eyes on the score that guides that (especially from phrase to phrase, mid phrase often sight readers can fill in the blanks with past muscular/sound memory). I have taught many excellent sight readers who wish to be able to memorize and the greatest difficulty I always face is making them realize when they do not have to read, in the end I have to prove it constantly to them by cutting out post it notes and sticking them on parts of the score, or by telling them to look at their hands while they play. You will be amazed that some of them find it very peculiar to watch their hands while they play because they are so used to watching the sheet. It is as difficult for them as it is for the memorizer to finally not look at their hands and keep their eyes on the score! So whichever one you are you can at least sympathize with what the other has to contend with!
Thanks for helping! 
Would love to hear what your teacher had to say about your practicing if you get the chance!
Topic: New , looking for some tips