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izayukam · 5 years

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Ice Explosion 2020

Let me share a little report of Ice Explosion 2020 here, at least, the Daisuke’s parts. It was a lively, warm and friendly send-off for him as much as a huge gift from him to his fans. It was happy, fun and emotional time. The venue was our familiar Shin-Yokohama Ice Arena, where Friends on Ice and Christmas on Ice had been held. The cast skaters are similar to the other two. Due to the lack of time so soon after the Nationals and the biggest holidays of Japan I was prepared to see another show exactly like those and tried to be understanding. Well, it did have the same format. Some group numbers, each individual programs, collaboration works with a live artist, even Mr. Gamada’s passionate MC style that comes with teasing with his heavy love to the skaters (or all the mankind). They are all there. But this is made of, for and about Daisuke Takahashi and celebrating the years of his singles competitive career and cheering for his new beginning as an ice dancer with Kana Muramoto. The first show of the Day 1, I found the seats are fully occupied though it was early afternoon of a weekday and pretty busy time of the year for homemakers. The opening: On the ice the images lightning flashed. Daisuke came out alone all in black. T-shirt, pants and his face buried in the hood of a thin, crisp and loose robe. aimlessly skating he was lost and powerless. In the dim lights he blindly let out white breath in the cold air a few times, once with his face up. It reminded his “Marnie” video he made in 2015. (It was the very first beauty I noticed in this show but sadly this visible breath never happened again on five other shows) Another being came over to give him power. And three pairs of other “animals” as well. According to the notes ran on the upper wall, he must have been given eyes of an eagle, ears of an wolf, strength of a bear and speed of a puma. Making him a brave soul. Now he raised up. All the skaters came out on the ice and he took charge. Music: “4 Powers” by Bravestar https://youtu.be/n0AsEcIRvq8 Now he is the leader of the pack. He gives them power... later it turned out that this was choreographed by Kenji Miyamoto but some of the movements I felt it was an homage to The Phoenix. This opening was so cool I wanted more. Music: “The Time is Now” by atreyu https://youtu.be/ss_JgjdxX40 After the opening two Chinese junior skaters, coached by Pang/Tong pair (I believe they are considered not a major group in China unlike nationally backed one around the gold medalist pairs of the Vancouver. Dai might have felt to give them encouragement for the long year friends). They skated alternatively, 13 years old girl in the early show and 16 YO boy for the evening. Then Kana Muramoto’s “Feeling Good”. I was thrilled when in the middle of the program she rose from lying position and skated straight to me. Enticing and sensuous, yet she got class. She got sense of movements like her new partner. She could connect with the audience. I can see Kana + Dai will be a bomb to the ice dancing with or without their numerical success. At the very end of the program Daisuke joined and they skated together just to finish. I got excited with fingers crossed. The very first official performance in public for the couple was really short. They looked great to present passionate movement together. In two seconds it was over and the applause came he moved away from the center back to his humble self and gave her his cute clapping. After individual programs of Keiji Tanaka (“pump it”- wonderful all through, good luck in the Worlds) and Kanako Murakami (”Boléro” ambitious music choice of Shae-Lynn’s Choreography) then Tanith and Ben’s (-simply fun!), Misha Ge (“Les Feuilles mortes ”- beautiful ), the collaboration pieces with a violinist Ms Emiri Miyamoto were presented. Akiko Suzuki’s Lavender pro, (splendid) team PIW and Andrew/Kaitlyn’s ”Time to Say Goodbye” choreographed by Kana Muramoto (my heart ached) and Shizuka Arakawa’s continental tango choreographed by Kanako Murakami (awesome). And the Meryl and Charlie skated to a great love song (no name at hand) Then, the last of the Act I had come. The two men from PIW team, Dai’s long time friend Hirokazu Kobayashi, also Yuta Onuma, and Elladj Balde started it to the strong tune of: Music: My Songs Know What You Did In The Dark by Fall Out Boy https://youtu.be/LkIWmsP3c_s After the short, athletic and artful skating and dancing, Ms. Miyamoto’s live violin stepped in and started very intense tune that grew into ... isn’t it? Isn’t it that? It’s coming, I know it’s coming.. here we go!! The intro of the Phoenix and Daisuke came in! The audience roared. The four guys made a formation of one line one behind another w Dai in the front, as the violinist quietly turned and walked out. And the Fall Out Boy’s song started and now the audience went wild. I love this group version. In and out to skate Daisuke could pour all his energy into the major dance movements w/o pacing to save it for the elements. (And after each of his all-out performances he still had a hard time getting up. But to his credit he completely nailed beautiful 3 Lutz on ALL the six performances!) The piece had more than a few screaming points and I prepared lozenge after Day 1 but it didn’t save my voice very well. Daisuke being one of the group didn’t water it down. It got more intense. More fire. He didn't try to blend in to the group like he used to do. He was even more Daisuke than any other time. The rest boys danced to Daisuke’s Phoenix or so I felt. I wish this to be one of his standard repertory or at least to be brought to a few more shows. And I seriously worry about the roof or the structural damage of the venue. The performers and the audience, even the other skaters dancing at rink side shook the entire house. The Act II started with “Welcome to the Ice Dance World” to the music of Disney’s “Beauty and the Beast medley”. Two of the ice dancing couples, Meryl/Charlie and Tanith/Ben and the baby couple just hatched, Kana/Dai. Kana in white, looking pure and fresh, found and picked up a red rose. It is the key item of time limit of the curse for true love to break in the original story. Maybe it didn’t have so much role in THIS program but later on it earned a very nice story to cherish in my memory. She gracefully skated and left the rose in the back, and the two senior couples showed their craft and what ice dancing is made of. (Throughout the show the three couples displayed variety of lifts seemingly to educate the newcomers and help creating their own) Dai came in with the rose. Still in the boots for singles but he swiftly reached to Kana and presented the flower. Instead of staying there to check her reaction he ran to the other end of the rink and showed off his ballet jump. But now he saw her dancing with the two other guys. He didn’t know what to do and turned to the two other ladies. (←←One of my favorite moments I can’t get enough) They quickly checked and touched up his hair and clothes and gave a cheer-up clap in the back to send him back to her. And then this brand new couple got together and started skating while the two other couples (and the audience as well) gave them parental smiles... After that show went on with: Keiji (Hip Hip Chin Chin) Kanako, Akane and Kiki (PIW crews, Dancing Hero of from 80’s Bubble age ) Chinese Jr. Group performance (Soothing) Elladj (Love it) Kaitlyn/Andrew (Adorable) Then the violinist Emiri Miyamoto with Akiko, Misha and 4 of PIW crews presented Wild West number, “Roundtable Rival” by Lindsey Stirling. The Great Emiri time! I believe I was excused to keep watching her and her “dancing” while playing instead of skaters because at the end the skaters weren’t credited. Only the violinist’s name announced. (But skaters were really lovely) Followed by Shizuka Arakawa’s “One Day I’ll Fly Away” and Meryl/Charlie’s Queen, the last solo of Dai. The recorded narration in his soft voice was played first. I try to put it in English as close as possible to his original. (Words are from my memory and a few peoples’ tweets. Sorry for the missing or mistaken parts.) “My figure skating life that started when I was eight years old, now has reached 25 years, quickly. In days, those years count about 9000 days. Looking back I feel them both long and short. Lots of scenes come back from my memories. Sometimes I had tears of regret, sometimes I shared tears of joy with my buddies. All the experiences are my treasures. With these memories I am now closing the final curtain of my competitive life as a singles skater. But at the same time, the curtain of my new life as a competitor is opening. There must be a lot of walls stand in the path and I am going to go over one by one and I am hoping to see and looking forward to the new sceneries beyond. I am grateful to all the people around who had supported me and also all of you in the audience who had cheered for me and given me courage at any time. Thank you so very much. And I hope I will have your support to continue.” He came out once again on the ice in a casual, living-room wear of a long camel colored cardigan sweater on a white T shirt and black pants. While preparing the performance to start, somewhat similar words from Daisuke were running on the upper wall screen in English. And it ended with these words, “I hope to continue my dream with all of you by my side.” And he skated to “9000 Days” from the movie Invictus. https://youtu.be/UjCW9ktWB88 His beautiful skating that floats over the ice, unprepared gentle lifting and soft landing of his jumps, (Salchow and Lutz), movement of his arms connected to his back and shoulders. All were organically harmonized. They were all there, those other things Dai always had been giving that he skipped during The Phoenix. In a way for some reason I relate this piece to the final skating of Genji’s wailing in Hyoen. He put everything with his deep emotion, only this is full of thankfulness. He was smiling all through the program. I have never seen that before. At the end of it all the skaters came to give a huge group hug. The circle around him got so tight and he went completely out of sight. The show ended. The applause at the end of this was somewhat subdued. Clapping endlessly most of his fans in the audience choked and no one felt like screaming out. Instead, I imagine, many were hugging the banner and their own memories and inwardly shout thanks like I did. The lights were up and now fun time of finale. The music for finale “Ever Again” and grand finale “Celebrate”. Each time he tried 4T and fell. (Pretty nice try though) The very last one when he fell he got on his stomach and cover his face with his both hands, mighty cute (again). The very last day Kana found something within the front row of the audience on the north side, the opposite of the front. She went over to Daisuke and talked to him and two went over to that corner of north almost to the west. They gave something to the one of the guests and the people around pleasantly reacted. Later I found this on a few tweets: they saw the banner of K7/D1 to cheer up for both Kana and Dai. Kana found it first and went to Dai, bashfully telling him something. He saw it too and made a broad smile and they gave her the rose they used in the show. I hope TV Tokyo will show it when they air the complete version. I will add a few bits more if I can, but I have to go to the gate to catch my flight. Thank you very much for reading.

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izayukam · 5 years

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Daisuke Takahashi [An Exclusive Interview] “My Peak is Yet to Come”

https://number.bunshun.jp/articles/-/839101 The article translated from: Bunshun NUMBER Vol. 970 Jan. 17, 2019 Gasping for air harshly, the eyes shut tight in agony,

yet there was an unmistakable smile on his face.

It was about half a year since the announcement of his return to compete.

The former champion came back to the Japan Nationals that he set as his goal. He said, “I will not retire yet”, while declining the World Championships

to represent the nation. He now tells the story behind those decisions and

about the change of his feelings toward skating ------.

Text by Takaomi Matsubara Photos by Kosuke Mae / Asami Enomoto

The new year has started, and he appeared with a freshly cropped hair style and a smile.

“I took a break for about ten days after the Nationals and indulged in heavy eating and drinking on all those days, but I returned to the ice rink now. I have started practicing”

He announced his return to compete last July. While an unusual kind of challenge by the 32-year-old after four years of retirement got attention by many, he proceeded step by step competing in the regional and then the sectional competition and reached to attend the National Championships last December for the first time in five years. He realized his initial goal at the time of announcement of his return to competitions, that is, making it to perform his Free Skating in the final group, and beyond that, he even got the overall result of winning the second place.

After the competition he revealed that he declined the offer to be selected to represent Japan in the World Championships, but also, he told the press he was “not planning to retire yet”.

It is about half a month since then. His expression shows that he is feeling good and fulfilled in the way as he has been all through the time since his return. It looks like symbolizing this season itself.

“Nothing has been wasted. Now I feel that all that happened were connected.”

Reflected the past, Takahashi touched on his decision not going to the Worlds as a start.

“When I thankfully got offered that they would select me as a representative if I go get the Minimum Score, I thought, “that’s not it”. Going to the World Championships is to represent Japan and one must feel the responsibility to match that, and yet, I got no time for such preparedness. I did not return to go to the Worlds or to compete in the world. I returned to get back my own skating, so my feeling doesn’t chime in with it. Something feels wrong, perhaps, like lack of resolution. If, say, this was next year, or if I were doing it for about two years already and could feel familiar to the world level, then I might have been able to tell myself “heck, they (other skaters) simply couldn’t go above me” though. Moreover, a chance to go to the World Championships held in Japan is a rare opportunity. That experience is huge. Therefore, I thought it must go to the young ones. Keiji (Tanaka) is not all that young but he is, to me. (LOL)”

Although he was placed second in the Nationals, he made a lot of mistakes in jumps in his Free Skating and Takahashi himself called it “pathetic”. If he could skate that FS well and felt satisfied with his performance, would it be possible that he chose not to decline the Worlds?

He instantly replied. “No. I would think I did it by dumb luck. If I got asked whether I can do the same in the Worlds I don’t think I would feel confident. So I think I still would choose not to go.”

The Worlds 2019 will be taken place at Saitama Super Arena. That is the same venue the Worlds 2014 were held, which Takahashi had to decline. Did he not feel driven by a desire to settle the score with the regret he had last time around? “I sure thought of it. But probably that’s just my ego.” All through the time from the press conference to announce his comeback until the National Championships, Takahashi kept making mention of the younger generation or the development of the sport. And often, this attitude stood out more than his focus on his own matters in competing. Athletes generally place the “I” first before the other things and that is an accepted trait.

Takahashi himself, while showing the strong feelings against loosing, has been an athlete very thoughtful and caring to the people around him from the very beginning of his career, but even with such a nature considered, those words and acts of his left a conspicuous impression.

“If I had kept competing, I might feel like that. But I left once. Ichiro (Baseball) and Kazu (Kazuyoshi Miura of Soccer) both never left the field. Mr. Funaki (Kazuyoshi Funaki of Ski Jump) as well. I think continuing is very hard and people like them are just fine to put their “I” first. On the other hand, I ran away, or I lost confidence and left and then returned. And when I was away, I was in a place to support and cheer them all. It’s hard to explain, though.”

He expressed his earlier decision to retire that he “ran away”.

“I could not reach my goal, could not get a medal in the (Sochi) Olympics, then I could not go on until the Worlds even I got selected to, I failed to sort things out and rewire myself; I would put it that I gave it up and fled, in a way. I had an issue with my leg. But I could force myself to go to that competition if I really try hard enough. So, I mostly felt that I ran away.”

At that time, his coach, Mrs. Utako Nagamitsu recommended to decline the Worlds as well.

“That made me feel relieved. I could feel much easier. Even though (she) normally would be the one to say, “you might as well go, you never know what will happen”, she just said, “sounds good” at that time. She had been watching how things going throughout the time. For those two years until Sochi, things are not working out well. It was like I kept pressing all the wrong buttons.”

And yet, he was expected to get results as a representative of Japan. He was counted on. It must be quite some weight he had on his shoulders as much as his sense of responsibility.

“I had fun feeling anticipating I could move ahead on and on even at age of 32”

With a sense of bitterness Takahashi left his competing life on October ’14. And after some period studying in New York, he expanded his stage of activities. Along with performing in ice shows he worked as a TV reporter. Those hours and days precipitated at the bottom of his heart like lees.

“While I was doing different things that had been thankfully offered to me, I could not help feeling that I was doing what I was not cut out for. I already knew that I was not good at talking but I truly realized that I was a failure. I thought it’s not just for me.”

Or he felt that:

“I hated my face more and more. I don’t look lively. I don’t like this face. That feeling got stronger as time went by.”

But this period was not just filled with what made him unhappy. In addition to the conventional ice shows, Takahashi performed in a dance show “LOVE ON THE FLOOR” and a collaboration of Kabuki and figure skating, “Hyoen”.

“As I took part in those shows I realized that I liked a place to do a performance and that feeling grew stronger. And even through the work of a TV reporter I feel uncomfortable, I had some opportunities to hear some stories from artists working in different fields. They were shining brightly, I could really sense their joy of being able to do what they love to do, and at the same time, I thought I wanted to be like that myself.”

And he reached to this one thought.

“The tool for me to shine is figure skating.”

The time of four years had him rediscover skating.

The final push to the decision was the Japan Nationals at the end of year 2017.

“When I saw the official practices, or while I sit in the commentator’s seat looking across at the skaters and coaches, I thought, ‘I want to be on that other side’.”

Many were paying attention to who would win the tickets to Pyeongchang Olympics, but there are some skaters who left Takahashi’s heart strong impressions: Koshin Yamada and Sota Yamamoto. Yamada once retired from competing after he graduated Kansai University. He returned to the sport while working at the Mitsui Sumitomo Bank. The other skater, Yamamoto, managed to come back to the Nationals after two times of major injuries.

“Koshin left figure skating once but returned as a member of working society and did a good performance and gave a fist pumping of joy at the end. Sota was not back to his real level with injuries but he performed with deep feelings. The performances by those two hit me in my mind and made me realize that there are many ways to compete. Even if it is hard to be a few of the top, there are skaters who continue for the love of competing, performing in front of people or simply for the love of skating.” And he realized:

“Up until then, I thought that I should not be competing if I could not feel that I am capable to win. But that is not the only way to compete.”

It may be the Nationals that gave him the direct impact. But what made him to regain the feeling for this sport once lost is the four years of different experiences he had been through.

Once he decided to return to the sport and came back to the ice rink as a competitor, what Takahashi got is the feeling of pure joy. “I put the skating on the back burner for four years until I returned and there are lot of things I can no longer do, but when I started to practice then I got, like, ’oh, I can do this, or that, and hey, I can do this too!’ I almost feel like a new beginner with a mindset of one. It is true that I felt some pressure, a different kind from the one before. If I would turn out to compete miserably then people might say ‘oh Daisuke Takahashi is actually not that good after all.’ But rather than that fear, as one by one I added what I could do on the list, I had stronger feeling of anticipating I could move ahead on and on even at age of 32.”

“I finally got to be able to say, ‘I love skating’.”

Soon, he was feeling more than just “back” on the ice.

“I was away from skating since I got tired of it, but after all, what I feel most confident in me is skating. Now I face it squarely, feeling that I want to truly devote myself to skating, and that I love to do performing. I found myself determined as much as considering myself competing for a lifetime even after I eventually retire from attending competitions. So, I thought I am making “a new start”.

And that is not all.

“I finally got to be able to say, ‘I love skating’.”

As far as I remember, he never said “I love skating” before his retirement in 2014. Takahashi nodded.

“No. I think I didn’t say that. I didn’t know myself if I like it or hate it. It was rather something what I had to do. I certainly liked it very much at the beginning, but I guess I lost that somewhere along the line. Because I was offered to do many different things after the retirement, I could find that I like skating and I could say that. That was a discovery as well.”

And he smiled.

“I had opportunities getting my photos taken before my return, but after coming back to skating the pictures of me look better, or they impress myself that I got a good face now. That’s another way I realized that I liked skating. My love of skating might have finally grown in my mind after I came back.”

He once again spoke clearly regarding his word that he would “not going to retire yet”, the statement he gave at the same time he announced his declination of the Worlds.

“Yes. I will continue to be a competitive skater”

Asked what his goal is in the next season, he answered:

“I have no thoughts. (In the press conference for comeback announcement last year) I said that going to the Nationals was my goal just because I got asked. I had general goals of building up my skating, showing my best performances whenever I am in front of audiences and to make those happen, I wanted to practice as hard as one would for going back to compete. I really haven’t thought about any specific target. I will find one. (LOL)”

In an event in central Tokyo he attended on January 12, he shared that he is planning to have a quad in each of his two programs, Short and Free, and challenging a quad Salchow is also a possibility in addition to quad toe loop, but he doesn’t have any certain scores or results in mind. He is just sure about one thing, though.

“Now I am thankful for the environment that allows me to concentrate on skating and my days are so fulfilling. If you ask me what my motivation is, I really don’t know the answer. I have no specific goal, but I am simply feeling well motivated regardless, I guess.”

A moment of silence, then he started.

“For the last two years before Sochi, I could not imagine that I would improve myself. I only had a fear that my peak was over. I had no confidence as I was wondering when my end would come. But I returned to compete now, although my quad jump before the injury (on his knee in 2008) is some other thing, I am sure that my current jump is better than the jump I was doing after the surgery. I was watching the video the other day and thought, ‘Oh, I’m good’ (LOL). They are higher, for the axel and generally all the others. My spins are terrible, but my skating quality is better than how I was in the past. Regarding my expression, I may not be able to do like when I was young, but I may have something I only can do now. I feel that I am getting matured in a good way. In that sense, perhaps my peak is yet to come. Therefore, I want to move ahead fully committed.”

He stopped, and he smiled as if he suddenly realized something.

“Oh, I see. That’s the motivation I got.”

-------------------------------------------------------

First published: January 17, 2019, The Web article posted: May 1, 2019

Translated by: izayukam

[Photo by Asami Enomoto]

[Photo by Kosuke Mae]

#DaisukeTakahashi #FigureSkating

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izayukam · 7 years

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Daisuke Takahashi's words from Brochure of Hyoen (Kabuki on Ice) 2017

DAISUKE TAKAHASHI : as Kuro Hogan Yoshitsune Minamoto

“The surprise with the scale of it that is far greater than I imagined. Everyone working for this production is an outstanding expert.”

I first heard about the initial vision of this “Hyoen” in 2015, when I was studying in New York. I vaguely thought that it must be fun making such a show, but at the time I was away from skating trying to reset things to start with a clean slate, so I could not see specific image of myself to play a role in it. I just thought that it would be nice if I can do such a show some day.

Two years later, today, “Hyoen” has realized. Honestly, it was a surprise that this has taken shape this fast, but more than that I feel a special link by fate that I could get the offer to be a part of it right at the timing I made a new start as a professional skater.

And moreover, once it was revealed, the whole picture of “Hyoen” project totally blew me away. I never thought it would have such a massive level of projection mapping, and it comes with a far greater scale of cast and staff than I imagined. I feel huge pressure but the other cast undoubtedly and probably every member of the staff also feel the same way. Everyone working for this production is an outstanding expert. All the people who never worked with before have come together in one place across categories of business.

This time it is a collaboration of Figure Skating and Kabuki, and I especially found it interesting that no line is drawn between the two, self-contained as “Kabuki actors are for Kabuki and Figure Skaters Figure Skating”. It is the first-time collaboration in the world, and therefore, both sides took off the exact same start line groping around our way to make this together — both sides of the cast tried new challenges in their own fields and had a goal to become one, mixing Kabuki and Figure Skating together — the process of it is very fresh and it is great fun.

This show brought me new discoveries in figure skating through the costume fitted to the character or the motions particular to Kabuki. For one thing, skating costumes are mostly tight-fitted and clingy, and I never knew showing my movement in a costume that is not, and Kimono of all others, was such a hard task. I have been expressing using my whole bodyline without thinking, so it was difficult to build the performances having that line hidden. Also, normally in figure skating, it is very important to make each movement look big in a large rink, but this time, it is the opposite. Instead of making a big movement, motions that are delicate and subtle are required. I struggled to find how I can make an impact in the rink. On top of that, I have scenes with no movement at all that never happens in figure skating (lol). The figures of those are not flashy, and I seriously wondered how on earth I can make them look attractive and cool. I felt that I had to put my creativity into it.

The role I play is Yoshitsune Minamoto, someone every Japanese knows. I was told that I would be playing this role quite some time ago, but to be honest, I had very little idea about this man other than his name, and I could not visualize how I can play this person. He actually has many faces, such as, an image of Ushiwaka-maru (Translator’s notes: a mostly fictional image of his young days meeting his faithful detainer/guard Benkei) and also a tragic image of his death by his own sword after fleeting as a fugitive. Only, however, since Somegoro san relieved my worries by telling me, “Takahashi san, you are OK not to make out a role, but be as yourself”, I felt that I could make a totally new picture of Yoshitsune away from the images already made in the history or in the stories. In this “Basara” story, the characters are from different time periods in the history and this particular Yoshitsune is supposed to be a “symbol of justice”, so I think the answer for this role is to dedicate to that and build a positive image of the persona. Vogue Japan is in charge of the hair styling, and I expected that it was going to be somewhat modern. I have never performed in such a hair or make-up and this excites me a lot (LOL). It was my first time to jump with such a long hair style of course, and I enjoy challenging an unknown experience like that.

I got a lot to learn this time on how I present “space” as well. To us, skaters, we “express” moving and skating, not remaining still. So it is important to adjust the size of movement according to the extent of the rink space. Kabuki, on the other hand, has the beauty to fascinate you by only a slight movement as well as large, flashy motions. In this show, we have the same size of the stage as regular skating shows while we adopt motions in Kabuki style, so we have to think about the balance in managing the space. And moreover, we do not just use the surface of the ice but the space far above in the air, and it must be a key factor that how we make good use of such different layers of spaces.

In those senses above and more, I believe that Hyoen expands new possibilities of ice shows. If we make this show a great success, I expect the next one would come as a fusion with an art of a genre we could never imagine. And above all, I am happy to feel that we could think that “skaters can do such things” ourselves, and that would give us a push to have a next dream, concept and idea for sure.

“The answer to what is asked in professional figure skaters will be found in this show”

Now figure skating as a sport enjoys receiving the unprecedented attention from the people. And yet, while the skaters have more chances to have their names known, it is still the reality that building a second career is simply difficult. The period of time one can be a competitive skater is not long, and the time to be active in the front lines as a professional skater is limited as well. However, as “Hyoen” suggests, with the support of the style to tell a story, or groundbreaking forms of presentation, possibilities for skaters are greatly expanded. That is, possibilities for skaters to be able to have different kind of careers by obtaining a new form of expressing, “acting a character”, not jumps or skating itself. Even though the abilities to perform elements such as jumps go off their highest level, skaters would keep developing in representing what they want to express through their experiences. And that quality is exactly what is demanded by the type of shows such as “Hyoen”. I think if this style of shows spread in Japan and in the world, surely more people can work in figure skating for a longer time. And if more skaters can actively perform in shows, it would boost the entire level of performances of skating population, and even some may aim for this trade — some skaters may seek for performing on this kind of stages, not being the top in competitions. I feel that it is the mission of our generation to find how new careers for skaters are created.

I am feeling very lucky myself that I could be in this show, as I have already had a lot of new discoveries. Every single one of them should be valuable for what I do in the future.

I have a feeling that the answer to what people want from us, professional figure skaters, is found in the “Hyoen” performances as well. I have been thinking for some time now what are supposed to be the things pros only can do, instead of the skating as a competitive sport to compete on the defined elements such as jumps and spins and show the tricks continuously evolving. It is considered that what the audience expect from professionals is a visual “appeal” as rounded and polished entertainment. And although I understand that that is the only quality for pro skaters to be able to surpass the fiery battles of competitive skaters, to be honest, I was still blindly seeking myself what is the attraction only pros hold.

However, as I got to participate in this grand project, now I could reach a conviction. It is the luxury, such as, a generous amount of time the pros only can spend for preparation, great means and vehicles the pros only have access to express through, and high level and innovative tricks only pros can challenge to obtain – this time, such as, Kabuki movements or dancing. That is the privilege allowed only to the professionals. I think the fact that the cast is trying desperately to obtain the new “tricks” and exhibiting them along with the finest staging should give deep fierceness to the show, and that creates an entertainment that gives you thrills different from competitive skating.

In other words, I feel that I am tested here if I can show something only a pro can. And if I am, I will definitely show you I achieve that.

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izayukam · 7 years

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昔の記事「ローリー・ニコルが語る髙橋大輔　全日本前夜」日本語訳

http://web.icenetwork.com/news/2013/12/20/66079182/takahashi-nichol-come-together-on-beatles-free

タカハシとニコルがビートルズのフリープログラムで、「Come Together」

名振り付け師が語る「詩情があって懐深い」プログラム

2013年12月20日Iicenetworkへ田村明子氏、リン・ラザフォード氏による特別寄稿

ローリー・ニコルは高橋大輔のことを「アスリート精神と傷つきやすさと情熱的な魂を、とてもユニークなバランスで併せ持つ」と語る　写真提供Getty Images

「大輔の演技というのは他から与えられた感情や動きを演じるのではなく、むしろその動き、深い感情は彼自身の内側からつき上がってくるもの。」――　ローリー・ニコル

2010年のエヴァン・ライサチェクのオリンピックの金メダルにも貢献した伝説的振付け師ニコル氏は、高橋大輔の今季新フリープログラム、ビートルズ・メドレーを手がけている。この二つの大いなる才能が直に会ってプログラムを作るという共同作業は今回が初めて。彼女に、このスケーターに振り付けた時のことと、このプルグラムに込めた思いとを語ってもらった。高橋はこの12/20-23の日程でさいたま市で行われる全日本選手権に出場予定。

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Icenetwork:　今回、どういういきさつで高橋選手のプログラムを振り付けるに至ったのですか？昨シーズンに実現しかけて、そうならなかったことは知っていますが。

ニコル:　大輔に世界選手権のすぐ後に連絡をもらったの。今回はスケジュールも周辺状況もどちらにとっても問題なく話が進みました。

Icenetwork:　彼を振り付けてみて、この選手のどの部分がスケーターとして一番優れた資質でしょうか？

ニコル:　彼には「一番」素晴らしい資質が山ほどあるのよ、そのどれをたったひとつだけ選べというんでしょう。私たちはお互いをほとんど知らないのに、何か彼の心を理解できる気になれたの。――それはもちろん仔細な部分ではなく、そのエッセンス、その深さ、真摯さといったこと。とても興味深かったのは、彼が新しいスケーティングスキル、新しい動きを学ぼうという強い欲求があったこと。ビートルズの音楽の本質と、スケートに対して私が持っている哲学に対して、完全に心を開いてきた。そういっても、ちょっと可笑しいのは、彼は自分に対しても確かな自信なんて持ってないのが見えたし、私のことだって多分最初は信頼できるか迷ったと思う。そんな中で独創的な動きをしてみせる時も、手応えなんてなくて、なんだかな、と思ったんじゃない。私は私で、かなり神経質になってた。この貴重な魅惑的な魂が私にゆだねてくれたものの責任の重さにね。

Icenetwork:　この選手と、他にあなたがこれまで手がけてきた一流選手たちとで違う点があるとすればどういうところでしょうか？

ニコル:　一流の人たちというのは、彼らをトップに押し上げた共通の特性というものがあります。私が一緒に仕事してきた一流の人たちは、自分自身に自信を持つということと、完璧主義者であることとの、あるとても微妙な細い境界線上にまたがっているので、結果として、自分がどれだけ素晴らしいかに対して、ある意味で歪んだ感覚を持っていた。才能にあふれた、大きな成果を出した素晴らしい人たちが自分がどんなに素晴らしいかをちっとも理解しようとしないのは、私にとっていつも悲しいことです。スケーターはそれぞれ独自の割合でアスリー��でありアーティストである部分を持つものです。大輔はアスリート精神と傷つきやすさと情熱的な魂を、とてもユニークなバランスで併せ持っていて、それが彼を正直で人を惹き付けるスケーターにしているのです。大輔の演技というのは他から与えられた感情や動きを演じるのではなく、むしろその動き、深い感情は彼自身の内側からつき上がって溢れ出てくるもの。惜しみなく与える演技者でいて安っぽい劇的効果狙いの誘惑に屈しない。彼に対して私の楽しい妄想は、私が優れた画家だとしたら、すらりと流れるような黒豹が情熱的に頭を反り返らせている瞬間、その発散する磁力のあるエネルギーと、周り中がそのオーラに吸い寄せられるさま、彼を題材にこんな絵が描けたら面白いでしょうね。

Icenetwork:　彼のどんな部分を一番引き出そうとされましたか？特にこれというものは？

ニコル:　彼のスケーティングスキルを向上させたかった。そのことで彼の磁力のある官能的なエネルギーをもっと強調することができるし、その正直な解釈を演じる上でのゆとりを加えることができるように。

Icenetwork:　あなたの芸術性の基調をなすものは、常にスケーティングそのものからくるということは知っていました。彼のスケーティングスキルをどう見ましたか？

ニコル:　ちょっとしたエクササイズの型を教えてそして彼の膝、足、体重、力の使い方などをじっくり観察しました。その上で、スウェーデン式Sという、古い時代のフィギュア、私がとても若い時に習う好運にあずかったものを伝授しました。私がフィラデルフィア・スケーティング・クラブとヒューメイン・ソサエティーでトレーニングすることができて、スケートの歴史を理論と氷上での実際のデザインの両面から学べたのは、本当にラッキーなことでした。それ以来、この20年世界中でそれをスケーターやコーチに教えることを自分の使命としてきました。氷の上に描く小さな形の中に、スケーターがエッジに乗ったときの自分の体の位置、膝のリズム、フリーレッグ（訳注：接氷していない方の足）の動き、ブレードの動きをどのように理解しているか、をかなりの部分見て取ることができます。その上でそれにのっとったスケーティング技術と練習法を教えるのです。私の目論見は、新しいものを提示して、彼にもう一度、子供のようにスケートについて発見してもらって、好奇心とモチベーションに新しい力を吹き込みたいということでした。

Icenetwork:　新しいフリープログラムについて聞かせてください。この音楽を選んだ訳と、あなたのこのビートルズ・メドレーの背後にあるコンセプトは何でしょうか？

ニコル:　彼は私に、何か違ったこと、何か彼のファンに感謝を伝えるものがやりたい、と言ってきたのを覚えています。私が彼のタンゴは素晴らしいと感じていたこともあり、同時にタンゴ一色のプログラムにはしたくなかった。私にはこの、ふさわしいスケーターに出会うまで、と長年のあいだ温めてきた「Come Together」の曲があって、それはビートルズの曲のタンゴ調アレンジの曲でした。あとはそれにうまく合う曲、現行ルールに沿ったエレメンツがうまく入れられる曲、というのを探したのです。彼が「イエスタデイ」でプログラムを開始する、というのがすごく気に入っています。彼のエレメンツに向かう気持ちにふさわしいことと、同時に彼の過去の日々、そこから一歩ずつ歩んできた、いいこと、悪いことの両方に対して、頷いて肯定してあげることなのです。そして「Come Together」のステップシークエンスの楽しさ！このステップシークエンス部分は私自分ですごく誇らしいの。一個の芸術品になっていると思う。あんなふうにやれるのは大輔だけ。彼はここでは滑らかで情熱につき動かされた一個の獣みたい。そして、かれの魂の別の部分への扉を開けることが必要で、そのためのノックであるかのような音が一つ、響きます。ビートルズのプロデューサーだったジョージ・マーティンの「フレンズ・アンド・ラバーズ」でかれは観衆に向かってターンし、滑らかに滑ります。磁石に吸い寄せられるように私たちを引き込みながら。かれは友人や彼を愛してくれている人のために、そして友人や愛してくれる人たちがいるがゆえに、滑るのです。かれはその人たち全てを愛し、またその人たちすべてに感謝しています。けれどそこで曲が「イン・マイ・ライフ」に移ります。そこでスウェーデン式の「S」を描くところです。そしてそれに向かってジェスチャーをするところで、歌詞が歌っているのは「それよりも君のことをもっと愛しているんだ」・・・とても詩的でしょう。そして「長くくねった道」、全く、彼にはその通りだったでしょう！そして人生はまさに長く曲がりくねった旅路だから、それを楽しみ、それを称え祝うこと、与えられている人生はこのひとつきりなのだから。私が思うに、これは詩情があって懐深いプログラムになりました。大輔だけがこれを滑りこなすことができるというような。見る人が真にそのことを見て、汲み取ってくれるだけの十分な関心を寄せてくださることを願っています。

Icenetwork:　オリンピックの年になって彼と、――あるいはその他のだれかとでも――初めて組んで仕事をする、ということの他の年以上のプレッシャーはありましたか？

ニコル:　はい。よりきついプレッシャーを感じました。しかもこれってかなり控え目な言い方なんですよ。彼は神々しいばかりのスケーターで、他の大勢の素晴らしい振付け師と組んできていて、その彼がオリンピックのロングプログラムに私の手に自身を委ねてくれたんです。その責任をとても重く受け止めて、心配で不眠に陥ったのです。あの時は、自分の年齢と今までの経験、わたしが大きな挑戦を愛する性格であったことにせめても感謝しました!　でも沢山の人から、かれは優しい人で、傲慢なところがない、と聞かされて、・・・それがわたしがこのプロジェクトを受けるのに大きな決め手となりました。私は、傲慢だったり横柄な態度の人とは、うまく仕事をしていけないからです。彼の手紙には、新しく学びたい、創造したい、という深い願いがこもっていました。

Icenetwork:　ビデオで彼の演技を見るチャンスがあったなら、感想を聞かせてください。良かったですか？

ニコル:　スケートアメリカからNHK杯までの進歩が、とても嬉しかったです。もちろん、細かなところでさらに磨きをかけるところはありますが、一番は彼の闘志とトレーニングでの明らかな努力の跡を見たことです。

Icenetwork:　ソチ・オリンピックのあなたの予想は？

ニコル:　予想や特定の期待、というものはしません。特にオリンピックは！ひとりひとりが出来ることというのは、念入りな計画に沿った質のいい練習を日々重ねること、どんな小さなこともないがしろにせずに可能性を探り、燃え尽きることのない希望をもって素晴らしい演技を演じている自分を思い描くこと、そして試合にあっては自分のやってきた練習を信じ、ただ、やるだけ。結婚式によく似てます。その日それだけを考えていたら、それを用意する過程での楽しさ、喜び、満足感のほとんどを取り落としてしまうでしょう。

Icenetwork:　かれがメダルに届く可能性は高いと思われますか？

ニコル:　彼を偉大にしているものをすべて出しきれる演技で二つのプログラムをあわせてきたら、私たちが好運にもそれを実際に目にできるその喜び、ちょっと想像してごらんなさい。全ての人にとって特別な日、フィギュアスケートの進歩にとって素晴らしい日となるでしょう。

#DaisukeTakahashi

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izayukam · 7 years

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Article: Sunday Club (Nichiyo Kurabu) from Mainichi Shimbun Newspaper April 23, 2017

“My Happiness”

-Figure Skater Daisuke Takahashi

I love the time I can soak myself in the world of fantasy. On my day off I watch drama and anime films on and on from 10am into the late night till 2-3 am. I have a desire to be something else, so if it is on a battle having a different strength of each of the characters, I would imagine being one of them and fight together. With a glass of some alcohol in my dining room. Munching something? No, I don’t eat between meals.

I don’t like the realistic world. The real world is too much. I get to think too hard over the things so I am happier with something I don’t have to think. I prefer something I can watch in a passive way.

On a vacation, I love to stay in a ryokan (Japanese style inn with two meals). Put a Yukata bathrobe and eat good food…. I used to hate that before. I thought, “what’s with you having a vacation and get settled in?? Don’t you want to go out and look for some fun things to do?” I would like to go to Ine in Kyoto or Beppu,.. Niigata would be nice as well. I don’t like traveling alone but it’s hard to schedule the time off with somebody else.

After I retired from competing, no matter what I did I didn’t get ignited. I took part in ice shows but they didn’t set me on fire as the competitions did. That’s why I placed all my hope in the dancing show “LOVE ON THE FLOOR” I performed in last year. Before I knew it the look on my face returned, the same as when I was competing. I tried it as serious as that and therefore I felt happy when it received good reviews. It made me want to keep having time like this always. This year I can spend more time to practice and I would like to show surely better quality performances compared to the last time.

Now for the first time I am experiencing what “stressed” means. I realize what people talk about “pains in the stomach”. When I talk on TV aired live I still get so nervous that I can’t have any strength in my legs. But I believe it is good to do things I am not quite willing to for my experience. I also found what a happy life I had walked all those years. All including that I am now feeling fulfilled.

With the skaters I was competing with in our time, we always talk to each other; “It would be nice to make an elaborate ice show together”. Something with a story, and something that can be rerun like a stage production… Once I get more settled, then it might be…..

Interviewer: Sakiko Takahashi

Photo: Ai Nakamura

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izayukam · 8 years

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Daisuke Takahashi’s Article “STEP STEP STEP” English translation

http://www.nikkei.com/article/DGXMZO11075430W6A221C1000000/

(the original article)

Nihon Keizai Shimbun (Nikkei Newspaper)

STEP STEP STEP(Daisuke Takahashi)

The representatives for the Worlds, these three can do it

2016/12/28 2:00

To the Japanese figure skaters Christmas simply means National Championships. This event has decided the representatives of Japan for the World Championships (Mar 29 – Apr 2 2017) that will determine the number of the spots for the Winter Olympic Games in Pyeongchang in 2018. I saw the games from outside the rink for the first time and found “aww, this nice and tense feelings” with a sense of nostalgia. The moment right before the performance skaters would get nervous and scared. They must be sandwiched between hope and dread, and I imagine I was like them, fully lively in those days and I envied them, although I have no intention to go back there...

The third consecutive victory for Miyahara (center), Higuchi, finished in second place (left) and Mihara, third place (right) -- photo provided by Kyodo

■The tradition continues and Ladies show their toughness in the Nationals

Ladies were smashing. For some reason ladies skate better than men in the Nationals since way back. This season, except Mai Mihara (Kobe Port Island Club) who finished in third place the rest of them in the final group each had only one mistake or so but really skated well without many flaws. The ladies stay strong beyond generations.

Nowadays we have more ladies having skating with speed. All in all, one looks more distinguished skating fast. Among those, Mihara, Marin Honda (Kansai University Middle/High School Skating Club) who finished in fourth place and Kaori Sakamoto (Kobe Port Island Club), 7th place, had great speed that alone can attract attention. Especially Mihara had it perfect paired with stability of her jumps. Her expressions give away that she has just moved up to the senior level, but she has room and potential to improve that aspect.

“I believe this time again more people wanted to see Mao than any other skater” -- Photo provided by Kyodo

It was hard to predict for the ladies. Satoko Miyahara (Kansai University) the Champion and Wakaba Higuchi (Tokyo Nihonbashi Jogakukan High School) stood out above others. They put bits and pieces of difficult elements for the transitions, that fill between the major elements, instead of simple gliding. Satoko, who did the toughest of those, has improved this season not to lose speed while doing difficult things. She has strong advantage to gain points here and there for those. Higuchi had good quality jumps while having hard transitions as well. However, I had an impression that she lost speed in her Free Skating.

I am not so much concerned about securing the Japan’s spots for the Pyeongchang Olympics in the coming Worlds to which these three teenagers, Miyahara, Higuchi and Mihara will go. Neither of the three gives me the fear of breaking down largely. I imagine if they make it to be in the final group of six in the Free Skating, even the first timer Higuchi and Mihara should be able to pull it together reasonably well. To get the largest possible number of spots to send three skaters to Pyeongchang, the sum of the placement of the top two skaters of Japan’s must be 13 or under. Their rivals are predicted to be primarily Russians, followed by Americans and Canadians. I am willing to believe that these three can do it.

Daisuke Takahashi, -- Photo by Seitaro Tanaka

I cannot see what Mao Asada (Chukyo University) felt after finishing in 12th place. After having been in the top for years she had the first experience not to be able to go to the Worlds and that must be a damaging blow to her. But I would look what stance she takes in competing. In my case I decided to retire when I could no longer win, but if Mao feels “I like challenges of competing” “I want to do until I get fully satisfied” then she might as well continue so that she would not have any regret in her competing life. She herself must know that it is hard to compete while having troubles with jumps. And yet I want to see her fighting the battle.

I believe this time again more people wanted to see Mao than any other skater. It proves that she has “an aura” to draw you that many instructors keep saying that it is the most difficult to teach. I think Honda has one too. Mao is a skater from another dimension in this regard as well, giving off the fairylike charms in the past and present days. No one can copy that.

The skaters of men’s single, that include some intriguing middle school youths, had a big gap between the top and the middle layer or under in this event. Now it is an era that one is required to have something else on top of having quad jumps under his belt to compete at a world level. Especially in the men’s senior level one needs compelling skating skills to compete. It is a must-have component for which Patrick Chan (Canada) is the top in the world. The skaters who showed such skating are the top three, Shoma Uno (Chukyo University), Keiji Tanaka (Kurashiki University of Science and the Arts) and Takahito Mura (Hirota co, Ltd.).

■Uno might have had his peak a little too early

“The strength of Uno is continuity of the flow of the program” -- Photo Provided by Kyodo

I would say Shoma had his peak a little too early. He said, “I was in a good condition during the practice before I came (to Osaka).” He might have lost his momentum a little when he came to the venue. It may have an influence on his frame of mind that Yuzuru Hanyu (ANA) had withdrawn from the competition and he had got all the attentions to him. He might have said it had given him “no difference at all” but the people around must have treated him differently so there is a great chance that he had felt the change at the unconscious level. He looked out of gear during the official practice. He was out of rhythm with other skaters, such as, in choosing his paths to enter jumps and he did not seem to be in a good flow probably because of the strain. In a case like that you might not be able to fully focus.

Shoma’s strength is continuity of the flow of the program. He couldn’t land clean quads in this event but he didn’t allow that to interrupt the flow of the performance. It sounds easy but it is very difficult. He can do it because he devotes his attention to every detail of the program. That’s how he gets high score even with mistakes in jumps.

Those who just come up from the junior level to the senior often have great results first off with their momentum and then have a time to falter at around third year. I have a feeling that Shoma is going to be spared from that. Because he got Yuzuru. It is huge to have someone to chase after. He doesn’t have to worry over unnecessary matters. To face a competition one’s mental burden is very different between “I want to beat XXX” and “I should not lose to XXX”. Viewed in this light, you can see how hard Yuzuru’s work, can’t you?

In the Four Continents Championships and the World Championships next year I want you to give your close attention to Kana Muramoto and Chris Reed of Ice Dancing (Kinoshita Club) as well. Chris is a two-time Olympian and Kana was originally a single skater. She only had troubles with jumps but she has been a wonderful dancer, and she has a decent touch of mature charm. I wish them to have a great pursuit to the upper placement.

This competition brought me home to a quiet but deep rediscovery that having good skills and expressions that can earn the points and the performance that would grab a heart are two different things. There are many great performances with their jumps not their forte. Mao and Kanako Murakami (Chukyo University) had them and I also liked performances of Higuchi, Miyahara, Rika Hongo (Chukyo University), and Shoma’s Short program as well. It is a way of watching figure skating to enjoy the parts that scores do not reflect.

(the Bronze medalist of Winter Olympics in Vancouver)

#DaisukeTakahashi #FigureSkating #JapanNationals2016 #MaoAsada #ShomaUno #SatokoMiyahara #WakabaHiguchi #MaiMihara

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