王诗玥/柳鑫宇:一步一个脚印,争取靠近世界前十

王诗玥、柳鑫宇,这两个名字最近越来越频繁地被提及与关注。作为中国冰舞的领军人物,过去几年里,他们从亚洲冠军、到奥运自由舞不入;从拜师他乡、到世锦赛前十五和本赛季挑战赛摘银,苦辣酸甜、几经沉浮。外训以来,王诗玥和柳鑫宇的进步有目共睹,他们用勤奋和坚持不断地为中国冰雪带来惊喜,本届中国杯更是以第四名的好成绩创造历史。中国杯赛后,王诗玥和柳鑫宇在混采区接受了多家媒体的采访,深入地为大家分析了自己的表现,讲述了自己的外训心得,明确了本赛季的目标。

记者:这是本赛季的首场国际大赛,感觉怎样?王:整体感觉还不错。柳:在中国比赛很兴奋,因为都是中国粉丝,很亲切。 记者:你们是哪天到的重庆?有没有在重庆游览一下?王:周二凌晨两、三点到的,游览还没来得及,比完赛有可能去吧。柳:可是比完赛就得回蒙特利尔,因为后面还有NHK的比赛要准备。王:其实距离NHK只有一周,我们本来想申请留在中国备战,但是教练要求我们回去。 记者:从去蒙特利尔外训开始,你们两个进步很大,可以谈谈在那边的训练生活吗?是怎样取得这么大的进步的?今年的夏训有什么具体的收获?王:其实进步也说不上多么大,现在在训练状态和对节目的想法方面更成熟了,更懂得怎么样踏踏实实去做好每一个点。现在思想上也比较提前,很多事情会提前去想,训练也感觉自己通透了不少。比如很多时候如果出现问题,自己就能知道为什么会出现这个问题。柳:总的来说,现在更加独立了,也感觉训练理念和训练方式不同了。以前我们教练一直跟着我们,现在全是靠自己,包括吃饭、坐公交去训练等等。经过一年的磨合,我们能更好地去配合蒙特利尔的教练组,也能更明确地知道自己的目标。今年夏天应该说是我们比较拼命的一个夏天,每一周都安排得很满,为自己的目标努力。所以从赛季开始,也明显感觉成绩比去年提高了很多。 记者:所以这个赛季的目标是什么?王:其实也没有设立具体的目标,但我们一直是朝着靠近世界前十去努力的。希望通过自己的努力,一步一个脚印慢慢走,争取靠近世界前十。 记者:其实你们已经离目标更进一步了,比如上个月芬兰杯拿到银牌,应该对你们也是一种激励,肯定了你们与蒙特利尔组的合作,从刚去加拿大到取得这样的成绩,这个过程有什么心得?王:现在觉得心理上更成熟了。柳:老师总教育我们,要让我们自己明白应该去怎么做,而不是他们一味地去教我们。我们自己要去思考,从心里去明白,这样对节目的理解才会更到位。 记者:那么如果跟芬兰杯拿奖牌的表现相比,中国杯短节目的表现怎么样呢?王:其实还是和那一场差了一点点吧。今天上场前,主教练特意叮嘱我们在在图案舞之前要更加……通俗一些说就是要蹬冰,要更兴奋一点儿。柳:但是那个地方,我还是想要更多地去表演。王:可是我是想更多地去蹬冰。柳:然后我们就出现了晃动,虽然很小,但是加分方面还是会有影响。

记者:新赛季的图案舞对于很多选手来说都很难,对你们来说呢?难点在哪里?
柳:主要难点在于我们俩的身高差吧,而且因为我们身高不一样,蹬冰的幅度也完全不一样,而且这个图案舞速度特别快。赛季初的时候,我们老是摔跤,两个膝盖摔得和鸡蛋一样大,有时候趴在冰上起不来。不过经过几个月,就进步多了。王:是的,刚开始两个膝盖都肿起来鸡蛋那么大,我有一种膝盖都碎了的感觉。但是后来扣得比较细,练得也比较多了,就好一些。但还是有很多姿态上,身高差不多的运动员可能很容易就能控制,但是我们不同,可能他晃一下,我就完全做不了了。脚下步伐也是一样,我能倒腾过来的时候,他就不行;但是他一使劲儿蹬冰,我的腿还会跟不上,所以对我们两个人来说很难。 记者:但努力付出也得到了回报,卓别林的新节目已经初见成效了。这套节目很俏皮,是自己选择的风格吗?王:不是,我们找了很多音乐,但都不是特别喜欢,或者不是很合适。后来女老师(Marie-France)就提议试试卓别林。刚开始他不太喜欢,因为他不喜欢这种幽默搞笑的风格,所以刚开始挺抗拒的。但后来陆地训练中,舞蹈老师给我们编了一些动作,感觉还不错,挺合适的,最后就选了卓别林。柳:一开始我觉得不适合我,但是后来感觉挺好玩儿的。 记者:这赛季的两个节目,一个是卓别林,另外一个是黑天鹅,其实两套节目差别很大。柳:对,训练里经常前一秒还在搞笑,下一秒就要这样(做严肃脸),性格分裂。王:训练里就感觉我俩是人格分裂,尤其一场冰需要滑两套节目的时候,细节反差很大。 记者:如果现在给自己打个分,满分一百分,这个赛季到现在能打多少分?王:70分吧。柳:我觉得韵律舞可以高一点儿吧。王:那75?柳(和王诗玥同时):80分吧。王:高了。

记者:说完韵律舞,这一次自由舞的表现总体还算满意吗?柳:状态上还算满意,基本达到了训练的水平,但是定级和滑行方面,还是有些小瑕疵。包括我同捻时候,手可能早了半圈儿,就被降了一级。然后还有细小的晃动,导致降级。不过自由舞回去还要大改,托举、衔接等等,争取更高加分。还要修改后半段,前半段相对较好。 记者:这套自由舞练了多久了?王:练了3个月,7月末编的。 记者:虽然说了那么多问题,自由舞还是得到了赛季最佳,也给裁判留下了很好的印象,这套节目现在在哪些方面做得比较好?王:我们的训练状态不只如此。今天可能还是因为是赛季第一个A级赛吧,我们太想表演好了,反而中间出现了些小瑕疵。柳:在两个人的配合和交流上,肯定比之前在德国和芬兰都要好一些。而且这个节目音乐比较适合我们两个。其实赛季初我们选的自由舞并不是这个。我们练习了一个月之后,主教练说那套自由舞不适合我们,节奏太慢了,才改了黑天鹅,比较适合我们,比较有激情、有冲劲儿。 记者:之前选的是什么?柳:是《天鹅之死》。 记者:其实也是天鹅。为什么会选择“天鹅”这个主题?柳:对,都是天鹅,但是之前的比这个慢很多。王:转变还是比较大的,其实一开始我们也没有什么特别的想法,就是想尝试不同的类型,希望挑战和突破自己,滑一些之前没有滑过的东西。所以女老师Marie-France就给了我们一个超级美的节目,先滑了一个月。其实感觉也挺好的,我们也很喜欢。但是女老师觉得不够好,可能觉得我们两个还是不太适合美的,我们太冲了,所以就换成黑天鹅。我们滑了几个动作,也觉得好像确实黑天鹅更适合我们。柳:我觉得之前的《天鹅之死》可能比较适合我们组里法国那对选手。

记者:你们觉得现在自己的风格是什么?王:可以肯定的是,风格张力够大的时候,我们是可以驾驭的。因为我们是到后程很喜欢拼出来的那种运动员,要真的让我俩冷静吧,我们还真有点儿冷静不下来。奥运会那一年尝试的《Happy Ending》对我们来说算是比较柔美的一套了,感觉也不错,但是现在,女老师大概还是希望我们能发扬自己的优点吧。柳:我们去年好像是排第十五名,今年想往前十名努力,那就需要有冲劲儿的节目,体现我们特点、弥补自己的缺点,这样才能让我们排名向上靠。也许明年或者后年,等我们排名努力提高之后,再去滑一些更突破自己的节目。 记者:刚去外训的时候,你们提到过在加拿大学会了更轻松地滑冰,现在在比赛中也会感觉体力更充沛吗?王:会,之前滑到一半就感觉到要累死了,舌头都要咬下来的那样用力。现在同样是用力,就懂得更聪明地用力。柳:是的,现在更懂得怎样用力才最省力。细节上也更注意了,也更注意蹬冰和滑行。 记者:还有哪些方面需要提高?当务之急是什么呢?柳:当务之急就是滑行技术,还有要提高速度。王:要提高的地方太多了,方方面面都需要。再有就是配合上,有时候我们都太注意自己了,所以配合的默契上还需要提高。


本周末11月22日-24日王诗玥和柳鑫宇将参加在札幌进行的大奖赛日本站比赛,期待两位选手精彩的表演,持续进步。

纪平梨花:期待早日恢复跳跃难度

大奖赛日本站中,本土作战的纪平梨花虽然还未恢复勾手三周,不过漂亮完成三个三周半跳,获得本站亚军,加之加拿大站获得的第二名,顺利获得总决赛资格。赛后一夜明采访中,纪平选手提及近期伤病恢复的情况,也期待可以早日将后内四周跳加入到节目中。

记者:纪平选手一直以来都是马尾辫的造型,这在成年组的选手中很少见,请问是有什么特别的原因吗?比如有助于控制离心力之类的?

纪平梨花:我平时就扎着马尾辫,以前也尝试过其他发型,但觉得看上去不适合自己。因为一直都是马尾辫,也没有去改变的勇气,而且跳跃什么的也都很习惯,所以就没想改。

记者:你最近不能跳勾手跳,但结果上说还不错,你怎么看?

纪平梨花:老实说,我不满意自己现在没法在节目中放进勾手跳,这赛季我常常意识到自己的构成必须更有竞争力才行,所以对没法上勾手跳这点感到很可惜,或者说是明明想做但不能做的懊恼,希望能在世锦赛前恢复。但这两个月我都没有着急,会每天都好好地去护理。

记者:总决赛后,会稍微休息一下,做点调整吗?

纪平梨花:要是能好好休息一下当然是好的,但是Axel和其他的跳要是不好好练也会很危险的。哪怕现在不能跳勾手跳,但为了在比赛中做到其他的跳零失误,我觉得还是每天都保持训练会比较好。如果疼痛还是在持续,那等到赛季结束了,稍微休息一下还是不错的。

记者:具体做什么动作时会疼?

纪平梨花:就是勾手点冰起跳的那一瞬间,压着外刃的时候,就是这里(指着自己的脚),我也说不清是韧带还是跟踺的部分,不同的医生说法也不一样,但从长期以来的症状来看我想应该是跟踺吧。

记者:是用不上力的感觉吗?

纪平梨花:就是单纯的疼。

记者:跳Axel的时候不会?

纪平梨花:现阶段跳Axel不会,但连跳勾手两周时都还是会疼。因为比赛一场接一场的,所以我也不想太着急,可能会考虑先上勾手两周去找回感觉。

记者:你在这次比赛的公开训练中,三连跳最后接的是后内三周,所以我想你应该是要上后内四周了。老实说,你这次上四周的决心有多大?

纪平梨花:我本来是计划要上的,但以前我有过想硬上一个跳、结果连着失败了好几次的经验,我不想再变成那样,虽然我是真的很想上的,但冷静下来想想后,还是不想出现失误。想到上一个四周跳对脚的冲击,还有体力上的消耗,再考虑到以前上四周跳的合乐训练做得也不多,我对自己其他跳跃能不能做到零失误没有绝对的信心,所以最后觉得自己还是先发挥出训练中能做到的水平吧。虽然真的有上的打算,但重新审视一下现在的自己,还是在最后的最后做出了这样的判断。

记者:你在场上场下会跟Kostornaia选手交流吗?

纪平梨花:也就是一起拍拍照,但因为我不会说英语,没有共同语言,所以都没怎么能聊上天。

记者:你现在找到在比赛中跳三周半百发百中的感觉了吗?

纪平梨花:跳三周半之前的集中注意力的方法,还有速度之类的,因为以前失败了很多次,所以积累了不少经验,最近终于能在比赛的时候找到集中注意力、顺势去跳的感觉。虽然还不能说自己多有信心,但每次心里都会叨念“不认真一点说不定会失误”来给自己施压,以此去提高注意力。

记者:到总决赛为止你都会在日本吗?不会去国外了?

纪平梨花:是日本(译注:梨花说的是nihondesu)!咦,语法好像错了,在日本(nihon de)!

(记者们调侃,啊哈哈是要上两个【译注:日语发音也是nihon】4S对吧?并装作要记进新闻的样子)

Stéphane Lambiel: On the Front Line of Figure Skating as Coach and Choreographer

Stéphane Lambiel is one of the most successful skaters in history. Once a competitive skater, he was known for his super spins and great personalities shown in his programs. Even though it’s been years since he retired from competitive skating, Lambiel never left the ice. He participated in various ice shows and even created his own. He opened his own skating school and choreographed for numerous world-class skaters. Among his students stands Koshiro Shimada, the newly medaled Japanese junior skater at the Grand Prix Final in Vancouver. After the Japanese Nationals, Shimada was nominated to represent Japan at the Junior World Championship. As Shimada’s coach, Lambiel talked about Shimada’s performance, as well as the feeling of stepping in as coach and choreographer in the figure skating world.

Q: What do you think of Koshiro’s performance at the Japanese Nationals?

A: I’m super happy with his short. We made some changes to the step sequence, so I was looking forward to seeing programs with new changes. I’m super excited to see his skating. He’s more and more involved in his performance. He put so much energy into it. While he was skating, I also enjoyed it. He decided to skate to that music himself. After the last season, He came up with the idea of skating to that music. It’s very personal for him. I really enjoy watching him performing that.

Q: What about the free program?

A: Koshiro’s free isn’t his best for sure, but I’m quite happy with the way he’s controlling his energy. The previous performance turned on the whole crowd. I was worried that he was going to be distracted, but I was happy that he went through the whole program. After he popped the first Quad Toeloop, I was afraid that he’s going to lose concentration, but he was able to regain control of his body and his mind. He went through the whole program. We were discussing that the second Quad Salchaw is like a bonus. He wasn’t able to let it go, but I wasn’t expecting much there. However, I was expecting that later in the program he would go for another Quad Toeloop. As for the rest, he was very calm. I think it is a very great experience for him to skate as the last skater here, right after Daisuke, being third in short. There are lots of new experiences for him, and they are going to be very helpful for him in the future.

Q: You mentioned Daisuke. How do you feel about his return to competitive figure skating?

A: I’m very impressed and super happy for him that he is here and is enjoying skating more than ever. I know this feeling because I stopped competing in 2008 and then came back in 2009 in order to compete at the Olympics, my final competition. I understand the feeling. It’s a great feeling and a great step to move forward in his life. I hope he can take in as much as he can, to enjoy the crowd and the space, to use the space that he has to show himself.

Q: Do you think Daisuke could make it to the Worlds? (Note: at the time of this interview, the Worlds team has not been announced)

A: The question is open for me and for him as well, probably. The answer is not very impotent. What’s important is that he goes out there and enjoys himself more than ever and perform more freely in the ways that he wanted.

Q: Koshiro mentioned that he felt very nervous. How do you help him with his nerves? What caused his nervousness?

A: I think we both felt pretty nervous, but at the same time we both felt confident. It always feels very special before you send a skater on the ice, because your nerves peak at that moment. You just have to accept it. Today he accepted it and he performed very well. As of reason, this is his first experience skating last with a third place in short. It’s a lot for him. He had a good short and came on last in the free, so he was probably nervous about that. Also, because of the Junior Worlds selection, he must be very nervous. After the short I told him that stress is your friend. We need to take the stress with you. Stress is part of the job, so don’t try to push it away. Try to grab it and use it in the best way. That’s what he did. Even though he popped some jumps, he was able to use the stress and control his mind. I’m happy with the way he dealt with pressure. He didn’t give up and fought till the end of the program.

Q: What did you discuss after the free program?

A: I was just telling him that he needs to be more flexible. If our plan A is not working, then he needs to trust the plan B. That’s what we discussed. I was expecting that he would recover with a second Quad Toe, but he was not even thinking about it. We need to work on that. We need to be more flexible with plan A. If plan A isn’t working, then we need to go for plan B.

Q: Could you talk a little bit about the creative process of this season’s programs for Koshiro?

A: I choregraphed both programs. Koshiro chose the short himself. We started choreographing in March, because he finished last season pretty early. We took some time to choreograph that program. In April, we did the free program. I recommended the music, “Eight Seasons” from Kremer. I like the combination and connections of the “Four Seasons” of Vivaldi and Piazzolla. I always have a strong connection with those two “Four Seasons.” Funny thing is that when I came to Fantasy on Ice, the first person I met was Satoko. I asked her how her programs were going. She explained that she was in the US and Canada for the programs. When I asked the music she chose, we found out that she chose the same musician as Koshiro and I did. We were like “wow, same idea!” It’s a beautiful (piece of) music. I like both programs very much. They show strong personalities of Koshiro.

Q: You also performed this music once.

A: Yes, I performed this Tango too. I performed many Tango pieces. Tango is in my blood. I love Tango music and classical. As choreographer, you need to enjoy all music because you need to be creative. You need to be open to all kinds of music. That’s really important. In the future, I’ll recommend more music to Koshiro, to develop more of his abilities to skate to more complex and beautiful music.

Q: Koshiro looks a lot like you in many ways, like his spin positions. Did you choose those positions because those were your trademarks once?

A: That’s mostly what everyone does with the rules now. It’s more about the spins that the system requires. But of course, he has improved a lot. He has been working hard. We will keep working. There are still things that he needs to improve. My job is to get him ready for the next challenges.

Q: Which will be Junior Worlds?

A: We are expecting the announcement. I have no idea. We will wait for the announcement. In case he is going to World Juniors, I really want him to first recover from this period, because he has been in so many competitions: both Grand Prix, the Finals, sectionals, junior nationals, then here for Nationals. We had so many trips. Now it’s time for him to recover and enjoy a little bit of the Christmas holiday. Later, we will be back to Switzerland and prepare for the next challenges.

Q: The battle field is deep for men’s singles here. What do you think are Koshiro’s strengths and weaknesses?

A: His strength, for sure, is his personality. He has beautiful body as a figure skater. He has musicality when he skates. He feels the music. We did lots of dance classes during off season. The way he moved to the music was wonderful. I was admiring him, because as a young man, sometimes you only want to jump. Of course, he loves to jump. He can land Quad Toe and Quad Salchaw, but he also likes to feel the music, to move and follow the music, to discover new styles and to use his body in so many ways. He has so many interesting personalities and that’s very important.

Q: This is your first Japanese Nationals experience as a coach. How does that feel?

A: It’s a wonderful experience. First of all, because I really like my student. I like the way he performs and the way he respects his coaches. He respects me a lot. We have great feelings. After Vancouver, we prepared while I was preparing for Christmas on Ice. I’ve been to Japanese nationals before as a guest skater. This is my first experience as a coach. There is a lot of pressure because there are so many great skaters, both from junior and senior levels. There is always a lot of attention to all the skaters, both in the ladies and men’s events. I take it more as an inspiration. Yesterday I watched the ladies. Of course, not all performances were clean, but every performance was so intense. That’s where I find inspiring. I am good friend with all the Japanese coaches because every summer I come here to join the Japanese skating federation’s camp, so I’m somewhat familiar with the people. It’s very nice to be here as a coach for the first time. I’m thankful to be there with him at the Kiss and Cry. It’s a wonderful Christmas gift to be here with my student. It’s very original. I’m very thankful for him to give me this experience.

Q: You also watched the ladies. What are your take on their performances?

A: I enjoy Satoko’s skating very much. I think she is most refined skater of our time. She makes you feel what figure skating means to her when she is on ice. Clearly, she isn’t here for the scores. She was here for her love for skating. Her skating is powerful and inspiring. I also love to watch Wakaba. She has very different style than Satoko. She’s full of energy, but she also makes you feel why she loves to skate. Her performance also hits me very much. Mai and Kaori are also great skaters. I think they are yet to sharpen their styles and find the ones that fit them in order to leave an impression. They have great potentials. Rika came to Switzerland to work with me this summer. Back then I knew that she was ready for the challenges competing in the highest level of international competitions. I love her style. She’s very young and exciting.

Q: You were one of the best skaters yourself. As a coach, what do you want to pass on to your students?

A: I have my own experience, but as a coach I’m still learning. Every competition I adjust my coaching technique a little bit. My philosophy stays the same: I want the best for my skaters. I want the best for myself. I want to improve myself as a coach, but I want them to improve themselves as skaters. That’s my goal, my direction, my philosophy. Meanwhile, I want them to enjoy figure skating. It’s a wonderful sport. As a coach, I wish that when my skaters retire, they will have wonderful memories of figure skating and their career, the same memories I had with my career and my coaches and choreographers. They’ve been always supportive. They’ve been positive, even during hard times. That’s what I’m aiming for, that is to follow the model that my coach has showed me.

Virtue/Moir:成功的道路没有捷径,珍惜与享受每个瞬间

2018年2月20日,Tessa和Scott重登阔别8年的奥运最高领奖台,以三枚奥运金牌、两枚奥运银牌的成绩成为斩获奥运奖牌最多的冰舞运动员。一年的时间悄然过去,一直不愿说出“退役”二字的Tessa和Scott似乎对未来规划已经给出了答案。从第一次稚嫩的牵手到携手创造辉煌,从2016年复出的战无不胜到平昌赛季的先抑后扬,一次次记录、一枚枚奖牌背后是他们对冰舞的热爱与坚守。回首奥运赛季的心路旅程和二十余载并肩起舞的点滴,Tessa和Scott感恩他们拥有彼此的陪伴与支持,他们希望留给冰舞世界的,不仅仅是骄人的运动战绩,更是闪亮的人格魅力。

奥运:拥抱压力,经验是最大的优势

平昌奥运会开幕式,Tessa和Scott共同挥舞着枫叶旗帜走在加拿大代表团的最前面,他们意识到身负的重任,“能够第三次代表加拿大登上奥运舞台,是莫大的荣誉,随之而来的是更大的责任和不可避免的压力,但我们会享受和拥抱这份紧张,因为身披枫叶的奥运战袍,本身就是一种光荣,我们绝不会轻视这份沉重的责任。我们对自己的表现有着很高的期望,我们准备好了,期待在奥运会发挥出最高水平。我们知道自己能够做到,希望加拿大能为我们骄傲。”

与2016-2017赛季一路凯歌不同,进入奥运赛季,Tessa和Scott受到了来自Gabriella和Guillaume更强劲的冲击,并在大奖赛总决赛中不敌法国组合。备感压力和担忧的同时,两个人也没有气馁, Tessa将这场惜败视为前进的动力,“我们学到了很多,赛后不到一个小时就已经在研究哪里可以继续精进了。观众和裁判的回应非常有价值,根据反馈我们会和教练讨论哪些地方感觉是对的,哪里还需要修改。”Scott则抱着乐观的心态对待银牌,“我们努力去看好的方面,为每场比赛都有所进步感到高兴。我们真正享受了备战过程,享受和彼此一起滑冰,这是我们职业生涯走到今天最为重要的。”

经历过两次奥运,Tessa和Scott在总决赛之后没有急躁,而是每一天都带着奥运比赛的心态踏上训练场。“能够预见并感受到压力和不安,是件好事,每次训练我们都给自己加压,只有给自己更多在压力之下表演的机会,才能在奥运赛场更为从容镇定。” 作为运动员,他们也必须诚实地面对自己,“没有人会满足于第二名,我们的目标是去赢得奥运会。希望今后回首这段经历,不会有任何后悔和遗憾。”

尽管媒体和观众早已将冰舞金牌之争锁定在Tessa和Scott、Gabriella和Guillaume身上,但Tessa和Scott对此却有着不同的认识。“冰舞的魅力就在于不论你的绝对实力处于哪一梯队,只有自己表现好,才有机会优胜。奥运冠军会归属于那场比赛表现最好的组合,拥有夺冠机会的运动员绝不止两对,我们的任务是要保证最终脱颖而出的是我们两个。只有享受训练、享受滑冰、享受与彼此共事的时光,才有可能成功。”

在Scott看来,经验是他们相较其他选手最大的优势,“能够第三次出战奥运,我们心中充满了感恩,2006年作为第一替补也是如此。很多选手是第一次参加奥运,而我们早已感受过奥运的压力,我们必须最大化这种优势。但在奥运到来前,甚至在团体和个人比赛之间的那几天,最重要的,就是我们不会停下完善节目的脚步,一步一个脚印,奥运会上要将所有改进一次性呈现,奉献最完美的表现。”

节目:求新求变,倾听内心的声音

Tessa自嘲说,他们对节目 “疯狂地修改”可谓“臭名昭著”。在运动员们步步为营的奥运赛季,Tessa和Scott却在总决赛后决定对自由舞《红磨坊》进行大刀阔斧的改动——他们换掉了半套节目的音乐,将《Come What May》由独唱改为重唱。2018年加拿大全国锦标赛首次亮相新版《红磨坊》,他们以满分的成绩第八次获得全国冠军。“温哥华对我们来说有着特殊的意义,我们在温哥华第一次赢得全国冠军,也在这里第一次赢得奥运冠军,如今第三次、也应该是最后一次奥运践行之战、全国比赛谢幕之战又回到温哥华,就像完成了一个轮回。观众的热情温暖并感染着我们,我们会珍存这份美好,记住赛场上的呐喊和助威,并将同样的感觉带去奥运赛场。”一曲终了,全场观众起立鼓掌,全新的《红磨坊》磅礴的尾声,在赛后引起热烈讨论。

问:最后的托举Scott双手举向天空,是胜利的暗示吗?

Tessa:从某种意义上来说也许是,但也不尽然,就像一百个人眼里会有一百个哈姆雷特,这个设计在每个人眼中会有不同的解读、唤起不同的感受。当然电影中Satine香消玉殒,这也是我们最初的结尾,就是繁华落尽时,歌舞升平、极具戏剧性张力的节目最后,突出强烈而令人心碎的对比。修改后的结尾,某种意义上来说确实有更强烈的凯旋意味,使节目中的爱情故事又有了更深一层的意义,但另一个角度来说,这个结束托举也同样表现着心碎和绝望,Scott张开的双手就好像我们的角色想要努力去抓住什么、去留住最后的美好。

Scott:其实我并不希望这个结尾被解读为胜利的预示,我更希望这个结尾表现出我们经历了这一切起伏坎坷,却依然愿意去抓住和坚守一些东西。

问:原来如此,请不要太在意我们的解读,这只是肤浅的猜测。

Tessa:哦不,我们很感谢这样的反馈,能得到旁观者的观点才是最有意义的。

Scott:是的,因为我们自己并看不到这一层含义。其实如果能传达出胜利的感觉也可以说是一石二鸟了。这个托举将是我们留在奥运赛场的最后瞬间,本应有一种成就感,毕竟我们为这套节目而自豪,也希望与观众们分享这份成就。能够让全场观众的热情被点燃达到最高潮,这样的表演总是可遇而不可求的。

问:那么最后“死去”的造型和之前有什么不同的意义吗?

Tessa:这非常有趣,我想随着时间推移,我们所呈现的也许不再是“死亡”本身。这个造型也许就是一个戏剧性的结尾定格,而我们的故事可能还在继续。我们也在继续挖掘,故事还可能如何展开、会发展成什么样子,它可能代表着一个生命惊天动地地离去,也可能有很多其他意义。

Scott:我们总说,希望观众能从节目中有所感触,也希望这个问题的答案是开放的,让观众去决定他们从中感受到的是什么。对我们来说,只要能触动观众,让他们的内心泛起涟漪,就足够了。

问:节目结束时你们内心又有怎样的涟漪,都交流些什么?

Scott: 我偷偷摸摸捂住嘴不让你们听见(笑)。其实只是告诉彼此,要记住这一刻,享受这一刻,记住我们做出了多少努力,希望这个节目可以……(有些哽咽)

Tessa:我们希望自己能用心演绎节目,而不仅仅拘泥于技术细节,这个赛季我们花了太多的精力在技术上,每场比赛都过分纠结于每个要领,这令人疲惫。现在我们希望自己能够信任平时训练的成果,告诉自己,这些技术要领已经成了我们内在的本能,现在要做的就是忘掉这些羁绊,让自己放松而自由地滑冰,就像这个赛季加拿大的口号一样“感受此刻”,在我们节目表演当中,抬头看到冰场四周加粗的FEEL THE MOMENT,也是对自己很好的警醒。

Tessa还透露了一个“意外惊喜”:“赛季初我们想当然地认为所有人都看过《红磨坊》,因为我们周围的朋友都看过,对故事线和角色谙熟于心。所以我们天真地以为观众也一定会立刻明白我们表现的人物和故事,结果却发现根本不是这样,我们在表演的同时,还肩负着将整个故事和角色向观众们交代清楚的重任。”意识到这一点,Tessa和Scott更大胆地将节目打造为“私人订制”。“故事如何展开和结束,都要依赖于我们的表演,更大的挑战是如何让观众很快与我们产生共鸣,但这也是最令我们兴奋和乐在其中的地方,我们乐于接受这个挑战。”

与赛季过半还敢于修改节目同样需要勇气和决心的,是《红磨坊》中另一个充满争议的托举设计,很多人认为这个动作过于露骨和大胆。而Tessa和Scott从节目创作之初,就决心要以激情、戏剧性、浪漫和舞蹈奉献一套不同于“Virtue/Moir标签式抒情节目”的自由舞,坚守这个颇具争议的托举就如同选择《红磨坊》一样,是他们内心深处的声音。

问:你们不放弃这个托举,有着怎样的考量?

Tessa: 我想这个托举很好地代表了我们这套节目编排的中心思想,既然想要第三次踏上奥运赛场,那就要做些与之前不同的事,哪怕是呈现出像这样激烈、性感、黑暗或是带着浓浓现代风格的元素。

问:整套节目都是基于这样的出发点编排的吗?

Tessa: 是的,从编舞到服装设计都希望充满新颖的现代感。

Scott:就好像当年的《卡门》,我们希望呈现与众不同的《红磨坊》,为这个节目打上个人印记。

问:你们曾经说过,与Marie-France和David Wilson合作总能得到极大的启发,编舞过程中他们又给了你们怎样的指导?

Tessa:实际上,在摸索节目基调和风格的时候,我们率先进行了陆地部分的编舞,由之前Hip-pop的编舞Sam Chouinard操刀完成。由于《红磨坊》被太多人选用过,我们意识到,如果想将它带上奥运舞台,就必须求新、求变,因此我们决定找Sam为我们编排开头的舞蹈。而David Wilson作为编舞也非常尊重我们的选择。

Scott:和Sam合作是件很酷的事,选择音乐的时候,我们两个在脑海中勾勒出了基本构架,以及希望呈现的动作风格,但我们并没有信心将这些想法搬上冰面,而Sam的鬼斧神工令这些想法成为现实。

Tessa: 整个过程中我们都给David发去舞蹈视频,他对我们和Sam的创意非常尊重,他通过视频去想办法将动作移植到冰面上,并加入他的风格与创意为节目锦上添花。一切就绪之后,Marie-France为节目最终掌舵成型,而Patrice则编排了具体的步伐和托举,因此这套节目是所有天才创意的结晶,每个人都为节目带来不同的精彩,而组合在一起,他们为我们打造了独一无二的《红磨坊》。

“初闻不识曲中意,再听已是曲中人。”这是平昌奥运会自由舞比赛当天央视对Tessa和Scott表演的评价。经历奥运的洗礼,《红磨坊》确实已经成为“曲中人”内心不可替代的一部分。“从思考节目之初,我们就希望能找到一个能让我们起鸡皮疙瘩、不由自主起舞的曲子,《红磨坊》让我们有了这种‘非它莫属’的感觉,它比我们滑过的任何节目都更触动我们。即使是经历了漫长的赛季,它依然对我们有着特殊的意义,已经成为我们一部分,与我们紧紧相连。”

相比于《红磨坊》创作和修改的一波三折,Tessa和Scott运动生涯的最后一套短舞则一气呵成。Tessa介绍说,Marie-France为他们敲定了音乐,并与他们交流了节目“野性”的灵感。“我们对拉丁风格也有所顾虑,但第一次伴着《Sympathy for the Devil》起舞时,就爱上了这个节目。我们表演过很多拉丁作品,因此非常渴望一套不落俗套的节目,亟需感受焕然一新的能量。这种渴求贯穿整个节目,也是我们选择《加州旅馆》的原因。我们一直都希望能用这首曲子,虽然一开始设想的是表演滑。”Scott则将这套短舞定义为“带有摇滚风的拉丁节目”。“《Sympathy for the Devil》和《加州旅馆》是我们很喜欢的歌曲。我和Tessa都希望所选择的音乐能给我们带来心灵上的冲击。短舞的内容并不复杂,就是两个人倾其所有用心起舞。”

多年征战, Tessa和Scott对各种风格早已驾轻就熟,说起还未涉猎的风格,两个人开玩笑说“留给我们的选择不多了”,但他们依然渴望尝试不同类型的表演,以及像表演滑《Long Time Running》一样,亲自编舞,做些即兴创作。“这套节目并不在计划中,直到加拿大站才敲定。”Tessa坦承他们原计划使用之前赛季Prince主题的短舞作为表演滑,“但是加拿大站之前,the Tragically Hip乐队主唱Gordon Downie突然去世,对于加拿大来说,是巨大的损失,全国都在哀悼Gordon,于是我们决定用这首曲子纪念他。”Scott还透露,他们本想在加拿大站用一次就换掉,“但我们在情感上非常亲近这支曲子,于是保留了下来。表演滑需要与观众的互动,选择有动感的音乐也许效果更好。用《Long Time Running》有些剑走偏锋,但是希望观众们能感受到与大部分节目不同的情绪。”

回首:心怀感恩,不要忘记对冰舞的热爱

平昌奥运会也许是Tessa和Scott运动生涯的最高点,但对于依然年轻的他们来说,更精彩的人生才刚刚开始。花样滑冰的赛场从来不乏传奇,比如Gordeeva/Gordeev曾经美好却戛然而止的爱情,再比如浅田真央对三周半的不懈追求,随着平昌赛季落幕,Tessa和Scott也成为了传奇的一部分,但他们还没有时间去思考究竟什么才最能代表“Tessa和Scott”。“希望一百年之后人们记得我是第一个完成两个四周跳的选手”,Scott天马行空地开起玩笑,“衡量自己的进步或成就其实是一件很难的事,不同于观众或裁判,我们几乎只专注于不足,以及如何提高、超越自己。也许在十年甚至更久之后,当我们通过荧屏重温自己的节目,才会真正开始欣赏和喜欢自己的表演,明白如何定义这段旅途。”

Tessa和Scott内心里更希望人们永远记住的,是最为朴实的他们:“也许这听上去很老套,但是我们希望人们不仅能记住我们是优秀的运动员,更能记得我们首先是善良的普通人。我们享受做运动员的经历,享受刻苦训练,并用训练成果来衡量我们的能力,充实而满足。如果能为冰舞世界留下一笔遗产,那是我们最大的荣幸,但毫无疑问,很快新一代的冰舞选手就会超越我们,创造他们的辉煌。“

告别赛场的Tessa和Scott终于有时间去关注加拿大新一代的冰舞选手。“我们曾与Marjorie和Zach是训练伙伴,看到他们逐渐成长为加拿大冰舞的中流砥柱,我们非常开心。”期待年轻组合超越自己的同时,Tessa也分享了成功的黄金法则,“成功的道路是没有捷径的,也没什么速成秘诀或秘密配方,必须要付出百倍的努力,要做出很多牺牲。我们很幸运,能够有着共同的目标,并一起为之努力,这是我们最有力的武器。”

面对无数怀揣梦想的小小冰舞,Scott希望他们不要忘记初心,“要找到自己所爱的东西,热爱自己所做的事情。训练总是枯燥乏味的,日复一日,年轻的运动员很容易因此忽略了自己对滑冰最初的热爱。我们直到现在还不断提醒彼此,要享受每一刻,如果失去了对冰舞的热爱,那一切都不再值得了。”Tessa则希望孩子们珍惜彼此,“我和Scott非常幸运,从很小的时候就建立良好的伙伴关系,其核心就是忠诚、信任,还有尊重。我们是彼此最大的支持者,都投入了很大精力去做到以上这些,去维持我们的关系,我们是一个团队,不论冰场上还是赛场外。”

问起他们从搭档身上学到的东西,Scott拍拍脑袋,笑着说:“我的天!二十年要从何说起,大概这场采访永远都结束不了了!我常开玩笑说Tessa都不记得生命中没有我的日子了,我猜这对她来说听上去挺吓人的。”二十余载的携手奋斗难以总结成三言两语,而“幸运”二字却似乎又足以概括。“我们曾经青梅竹马、一起长大、走过青春期、又共同长大成人,也许我最终学到的,或者最大的感触,就是我们非常幸运。如今踏入冰场,我最兴奋的事依然是见到Tessa,我们对未来还有共同的梦想,拥有这样一个合作紧密的搭档,是独一无二又难能可贵的,我们都很珍惜这份来之不易的礼物。”而Tessa,则如同她在新版《Tessa and Scott》封底所写的那样,感恩这份珍贵的搭档经历,又不知如何解读它的意义,因为与Scott并肩努力的这段人生,是她成长与收获的全部。“In all of this discussion about what our partnership means, we’re the two people, right in the center of it, who understand the least about it because it’s all we know.”

2018-19赛季日本全国锦标赛-女单自由滑

女单前三名:坂本花织、纪平梨花、宫原知子

女单自由滑奉献了一场精彩的比赛,坂本花织最后一位出场,顶住前面选手出色发挥的压力,干净完成整套节目,最终自由滑152.36总分228.01首次全日夺冠,小将纪平梨花一扫短节目失误的阴霾,漂亮完成两个阿克塞尔三周跳,自由滑155.01全场最高,最终总分223.76收获亚军,卫冕冠军宫原知子跳跃出现小失误以0.42劣势排名第三位,三原舞依自由滑高水平发挥但因为短节目和节目内容分劣势排名第四位,樋口新叶和山下真瑚分别五六名。

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2018 -19赛季日本全国锦标赛 – Day 2

日本全国锦标赛男单短节目比赛中,宇野昌磨发挥不错,完成两个四周跳,102.06排名第一,本赛季复出的名将高桥大辅干净完成整套节目,88.52排名第二,刚在总决赛青年组获得季军的岛田高志郎也基本发挥出自己水平,80.46排名第三,田中刑事、友野一希、山本草太等选手均出现不同程度失误,影响最终得分。

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