Perhaps "story" was the wrong word/concept here. Let's take a program that we know was quite meaningful and successful for Patrick. Do you think he was thinking about Eric and their friendship while he was skating A Journey? I thought he said so, but I could be wrong. Perhaps thinking about Eric was the motivation to learn the program and train it every day, fine-tuning all its details, but when he was actually in competition he wasn't thinking about any of that. In which case these "stories" (not the right word, but I can't think of a better one) are for training purposes only? So, the emotion during competition comes from the choreography itself and not from the intrinsic feeling of the skater during the the program?
Patrick did explain once that when he's in the zone, he's focusing on his body position, where he's putting the blade, and his breathing.
That makes sense for a skater like Patrick, but what about a skater like Ashley Wagner? She thrives on portraying a "story" rather overtly in her programs. She specifically portrayed Satine in her Moulin Rouge LP and said she related to Satine a lot (proving people wrong, the show must go on, etc). Did she not "feel" like Satine during the competition (inasmuch as fans can guess)? She certainly showed passion during that program. While we're on the topic, what do you think when people say a skater doesn't skate with emotion? If all the emotion comes from the choreography, what differentiates the bland programs from the emotional ones?
I do not need any explanation for Patrick's programs (certainly nothing like what the commentators gave for Evgenia EVERY TIME last season with the 9/11 movie :noshake
. But I still would like to know why these songs were chosen and what, if anything, will inspire Patrick to skate them well. Thanks as always for sharing your perspective. It's always a good read.
well I highlighted something important in your post. That's what I was referring to as well in my post when I said, we focus on where we put our fingers.
Emotion is tricky. And yes, there are different kinds of performers and performances.
I can try to answer but I am not a skater and if pianists share a lot with skaters, for instance, when we learn a new piece (program) we refer to it as learning choreography (of the fingers, wrists, arms, feet for pedals etc) I even include in my choreography, a precise spot for turning a page when I work with the score...
sometimes it's even written down "TURN HERE" haha
In any case, your post connects to my previous post of gloom about the pieces chosen. Patrick said he didn't want to get involved and let his team find the music. He likes the pieces... so that's great
but I do not think that there is much associated with them, at least not now. He talked as if he didn't know Dust in the Wind and of course he knows Cohen but in the interview, what he had to say about the music was minimal...
So in this case, I could compare it to having to perform a piece for a show for which I was hired, without having personally chosen the music...
Loving it or not at first audition doesn't matter because an artist, even if we all have our preferences, will end up caring and loving the piece they are performing.
In that sense, I think that the parallel can be drawn with a skater... Patrick will end up loving these programs simply because of all of the process, the work, the sweat and unfortunately the bruises they may bring.
Regarding the emotion of the piece... I believe that Patrick is an instinctive performer when it comes to music. His body just knows how to connect and portray emotion without anything superfluous. In that sense, both pieces are lyrical and have sweeping phrases that will allow Patrick to physically feel the emotion of the music while he skates. From there, with of course, the choreography, the training, etc, we, the audience will get the message.
For another skater it may be different or for another type of program, it may different. For instance, Patrick in
Moondance has some story line here... and even a prop....
However, in his competitive programs, Patrick has stayed far from pantomime and character portrayal. (YAY) And, I suspect that it will be the same with these two songs... I cannot see him doing them differently.
So how is emotion portray? A performer knows what a piece of music is about...music is that powerful. No need for lyrics. Music has its own emotional content and to some extent, the music will give the audience some emotions, whether or not the skater does.
What is interesting is to see if what the skater does on the ice is in line with the emotion of a piece. And in that sense, Patrick's instinctive musicality on the blades shows off.
Does he work on emotions while training? I don't know. What I can tell you is that a musician's goal is to transfer the emotion to the audience without burdening its own body with it... for instance, if a piece gets intense, the last thing I want is to tense up physically. I need to remain cool and collected, and let the music get through me to the audience. I would think that a skater would act in a similar way as tensing up when a piece or a program is intense would compromise their technique and flow.
Finally, not everyone is instinctive or work the same way. I have students to whom I create storylines for their pieces to get them to understand the emotional content of a piece, so that they can reach out to the audience, while some others just get it naturally.
In the end, on the concert stage, both kinds of performers are usually prepared enough to simply focus on putting their fingers and feet on the right place and let the music speak for itself.
I realise that figure skating is closer to dance than performing music as we "create the music" and of course, the skaters " move to the music" so I am sure other people have other ways to express what I have described or disagree with my own experience of music...
And I :agree: with what you wrote about the 4F.
OR 
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