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.”

Parsons兄妹:学习与成长

A52I3922.jpg

同过往赛季一样,2017年世青赛冰舞冠军Parsons兄妹再次以Lake Placid冰舞比赛作为新赛季首场比赛,节奏舞(Rhythm Dance)选曲为Vuelvo Al Sur,自由舞则为To Bulid a Home。虽然哥哥Michael Parsons两套节目都有失误,不过赛后两人均在社交网络上表达了对新赛季的期望。上赛季末爱滑冰有幸再次采访到两位选手,他们谈及了第一个成年组赛季的经历和收获。

因临近冬奥会,美国派出了未入选奥运代表队的选手出战今年的四大洲锦标赛,这对于升组第一年的Parsons兄妹是一个很好的学习机会。再次回到去年世青夺冠的台北小巨蛋,他们感触也与去年有所不同。“今年我们同样很享受在这里比赛,不过与青年组相比,成年组完全是另一个级别的比赛,气氛更加紧张,压力也更大。每位参赛选手都是最优秀的,即使是一个微小的错误,也会影响到最终的结果。我们在逐渐适应这种氛围。”

虽然发挥一般,但第一次参加成年组锦标赛的Parsons兄妹还是收获颇多,哥哥Michael表示“即使这次比赛未能发挥出自己最好的水平,但相比赛季初,各方面都有不少提高,而且我也很欣喜很多人看到了我们的进步,接下来我们将在这个赛季的基础上继续努力”,妹妹Rachel认为“虽然遗憾短舞同捻失误,但总体满意这次比赛的表现,随着赛季的进行,节目表演方面一直在进步,这个赛季是一个很好的学习经历。”谈及以同捻结束短舞是不是挑战更大时,Rachel笑着说这的确是一个挑战,在节目最后完成这个动作压力很大,今年主要是出于合乐的考虑,下赛季会好好思考如何编排技术难度。

近些年不少年轻冰舞选手从青年组升入成年组时都遇到一些困难,Parsons兄妹赛季初挑战赛发挥不错,但接下来的两站大奖赛状态有所起伏,谈及青年组到成年组的转变, Rachel认为青年组最后一个赛季他们非常自信,所以自始至终保持稳定的发挥,而成年组比赛是一个新的世界,竞争更加激烈,压力是导致两人发挥不够稳定的一个方面,他们还在寻找自己在成年组所处的位置。哥哥Michael也认同这个赛季面临的最大挑战是如何保持稳定,目前比赛中有时能够发挥出来,但有时也会犯些小错。他相信他们有能力与成年组最优秀的选手同场竞技,但需要能够自始至终保持良好的状态。同时成年组的竞争环境也激励着他们前进,日常训练中他们付出比过往多十倍的努力,希望不断提升自己的能力。

大奖赛美国站Parsons兄妹发挥不尽如人意,但他们将这份失望转化成了前进的动力。即使这个赛季困难重重,他们一直保持比较乐观的心态,从每场比赛中总结和学习,美国站后他们回到家备战1月全美锦标赛,更加努力的训练,想着在下次比赛中做得更好。在2018年全美锦标赛上,虽然自由舞同捻Michael略有瑕疵,但两套节目发挥完整,最终Parsons兄妹在竞争激烈的冰舞成年组比赛中收获第五名。

“成年组比赛让我们各方面都成长的很多,不少同场竞技竞技的选手都是我们一直敬仰的,他们分享的关于比赛、关于滑冰的经验让我们受益匪浅,这个赛季最重要的收获之一就是从对手身上学习。今年全美锦标赛尤其特别,每个人都在为冬奥会名额而努力,这也给我们很大的激励。在这次比赛中,Kaitlin和Jean-Luc参赛经验比我们丰富,他们也给了我们不少建议,这些对我们都很有帮助。”

无论是初升成年组的Parsons兄妹和McNamara / Carpenter,还是年纪更小一点的Green兄妹,Wheaton组的年轻选手们展现了不俗的实力。Parsons兄妹介绍到教练Elena Novak主要负责他们的节目编排,不过三位教练(Alexei Kiliakov,Elena Novak,Dmitri Ilin)是一个团队,既会协调安排训练的各个环节,同时每个人都有自己独特的见解,在日常指导中各有侧重。这赛季的两套节目音乐均来自教练组的建议,曼波(mambo)风格的短舞非常有活力,也很有感染力,而自由舞Ghost Dance则是向近三十年前滑过同一音乐的法国冰舞Duchesnay兄妹致敬,这套南美风格的自由舞同Duchesnay兄妹节目一样,受到现代芭蕾Ghost Dance启发,Michael表示Duchesnay兄妹的Missing是自己最喜欢的节目之一,他们向前辈致敬的同时,也努力在这部作品中加入自己的想法和感情,希望呈现一套属于自己的Ghost Dance。对于新赛季的探戈风格节奏舞,兄妹俩表示两年前的自由舞就是探戈风格,所以新赛季很激动可以再次编排探戈风格的舞蹈。

从年少时国内比赛到一起参加四大洲,Parsons兄妹与队友McNamara/Carpenter是对手更是朋友。Rachel说道“我们四个人从小一起长大,也是非常好的朋友。每天的训练都非常愉快,也喜欢一起旅行比赛。当然我们有非常强的好胜心,不过这绝对是积极的方面,我们都希望对方取得好成绩,看到他们取得佳绩我们会非常开心,同样我们发挥好的时候他们也会为我们加油。虽然我们都总想着击败对方,但又衷心希望对方有完美的表现。”(大笑)

赛场之外,这对兄妹同样热爱艺术,妹妹Rachel擅长画画,也会陶艺,她介绍全家人都喜欢音乐,Michael会弹吉他,自己正在学,妹妹会拉大提琴,父母也会乐器。哥哥Michael不滑冰的时候喜欢搞些歌曲创作,通过写歌来表达自己的想法和感情。

虽然第一个成年组赛季并不顺利,但兄妹二人始终积极面对,成长和学习是他们采访中提及最多的。进入新的奥运周期,祝福这对兄妹组合能有更稳定的发挥,在人才济济的美国冰舞中占据一席之地,就像他们所说的一样,“冬奥会是我们一直的梦想,相信也是很多选手的目标,我们将尽全力争取参加京张冬奥会。”

记者、摄影:Aoran

Han Yan: I’m going to take full responsibility for myself

a52i9456

On June 20th, Han Yan attended the strategic cooperation conference of the Qing Pang and Jian Tong Ice Art Center. He clarified that he wasn’t retired but was just no longer the Chinese national team. He announced that he was joining the Qing Pang and Jian Tong Ice Art Center and becoming a professional athlete. If the national team needs him and he feels in good shape, he is eager to compete again. Yan assured us that he still has a passion for figure skating and will stick to it.

iskating had an opportunity recently to chat with Han Yan and we would like to share this interview with everyone who has been following his journey through the years.

继续阅读“Han Yan: I’m going to take full responsibility for myself”

Alexandra Trusova: 我想创造历史,做些别人做不到的事情

A4054352-C55F-4A1B-81C5-ED6209DB9675-19370-00000547015860D4_tmp.jpg

几年前,Alexandra Trusova还只是梁赞小城中一个不起眼的花滑女孩。因为在电视机前收看了索契冬奥会,小姑娘心中那颗渴望成为奥运冠军的种子便悄悄地生根、发芽,鼓舞着她迎难而上,下定决心举家移居莫斯科,几经周折最终进入金牌教练Eteri Tutberidze的训练组。怀揣梦想的Trusova在莫斯科进步神速,初登国际赛场就一举夺得大奖赛总决赛青年组女单冠军,并且在节目中尝试了萨霍夫四周跳,成为本赛季唯一在国际比赛中采用四周跳的女选手。赛场上,这个个子小小的13岁女孩能量无限、镇静成熟,而赛场之外,Trusova和所有刚刚进入青春期的女孩子一样,喜欢毛绒玩具、爱和小伙伴叽叽喳喳、还常会和弟弟拌嘴。总决赛表演滑之前,Trusova接受了俄罗斯媒体和爱滑冰的群访,讲述了第一次参加总决赛的心情,分享了练习四周跳的心得,透露了家庭趣事,也明确了自己的目标和梦想。

继续阅读“Alexandra Trusova: 我想创造历史,做些别人做不到的事情”

Shae-Lynn Bourne:节目背后的故事

Shae-Lynn Bourne曾经获得过世锦赛冠军和奥运会第四名,退役后从事编舞工作也广受赞誉,庞清佟健在2010年温哥华冬奥会上备受赞誉的Impossible Dream便是由Shae-Lynn和David Willson一同编排的,近几年羽生结弦的阴阳师,Ashley Wagner的红磨坊,还是这赛季樋口新叶的Skyfall以及Nathan Chen的Nemesis也均出自Shae-Lynn之手。爱滑冰的记者有幸这赛季采访Shae-Lynn,让我们来听听这些节目背后的故事,以及她是如何看待花样滑冰这项运动的发展和变化。

继续阅读“Shae-Lynn Bourne:节目背后的故事”

Elena Radionova:成功会垂青于最强大的人

出生于1999年的Elena Radionova从青年组时期就凭借洋娃娃一般的相貌、全面的技术和充满灵气的表演从众多女单选手中脱颖而出,不仅成为成功卫冕世青赛女单冠军的第一人,更是受邀参加了索契冬奥会表演滑的演出。2014-15赛季升入成年组至今,尽管“成长的烦恼”始终困扰着Radionova,却从未使她在赛场上有丝毫的退缩。作为中国观众的“老朋友”,Radionova不仅多次在中国杯上摘金夺银,还在上海世锦赛中带病斩获铜牌。人们印象里娇小可爱的“收音机娃娃”历经沉浮,用她强大的内心和敢打敢拼的性格赢得了更多人的赞赏。上个赛季 Radionova没能参加世锦赛,就在许多人担心她会就此失去奥运机会的时候,Radionova在中国杯再次展现自己永不言弃的性格,凭借两套完整的节目登上领奖台。

中国杯赛后,Radionova接受了爱滑冰与俄罗斯媒体的专访,讲述了近几个赛季的经历和更换教练组之后的训练生活。不满19岁的“收音机娃娃”快人快语,采访最后还向爱滑冰记者透露了一个小小的愿望。

继续阅读“Elena Radionova:成功会垂青于最强大的人”