American Ice Theatre

Congratulations to Alessandra Lico, our most recent graduate of the AIT Professional Mentorship Program!

Alessandra wrote a thesis on “The Three E’s of Execution — Emotion, Energy, Expression” in which she explores the essence of figure skating performance, unraveling the connection between feeling, movement and communication on the ice. Discovering these key concepts can transform one’s skating into a profound artistic performance, leaving a lasting impact on both the skater and spectator alike.

Congratulations Alessandra! Your thesis serves as an important educational resource for artistic skating. Your hard work and devotion to your craft is evident.

This AIT Professional Mentorship Program is a customized, one-on-one, online course for skating choreographers with the chance to build their choreography skills, resources, teaching vocabulary, and skating network.

Read Alessandra’s thesis in its entirety below.

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The Three E’s of Execution 

by Alessandra Lico

In the world of figure skating, where athletes seamlessly embody both athleticism and performance art, the credibility of a program rests not only on the skater but also on the coach/choreographer guiding them. As a choreographer our responsibilities extend beyond the creation of a program; the interpretation and execution of choreography by the skater play a pivotal role in the overall performance. Drawing on my 15 years as a figure skater and nearly 8 years as a choreographer, my focus has crystallized into what I term the Three-E’s of Execution—Emotion, Energy, and Expression. This concept underscores the interdependence of these three elements, working in harmony to craft a complete and captivating performance. Each element is vital, and one cannot be realized without the thoughtful integration of the other two. This thesis delves into the idea that a well-rounded figure skating performance is achieved through choreography that adeptly conveys emotion, differentiates energy, and balances expression. Through this exploration, the routine becomes infused with a captivating and dynamic presence, resonating profoundly with the audience.

Emotion: The Foundation of Every Performance

Every performance is built upon the foundation of emotion. All humans—whether they skate or not—have their own emotions and conveys them differently. For example, the way one deals with anger may vary from someone else or the way one interprets a specific theme, music, or idea might be different than the next artist, whether that is with facial expressions or movement of the body. It is between the skater and the choreographer on deciding what and how emotion should be displayed. To understand how to adapt emotion into a choreographic performance, we must first understand what emotion is and why it is important. The American Psychological Association (APA) defines emotion as ‘a complex reaction pattern, involving experiential, behavioral, and physiological elements.’ It is further discussed as “how individuals deal with matters or situations they find personally significant.” This is how we connect emotion to a performance. For a skater to be able to infuse emotion into a routine, they first need to know how to acknowledge what they are feeling and from there embody it into their program. Emotions are a profound part of what makes us human. As also mentioned by the APA, emotion “begins with a subjective experience.” Everything we as humans feel stem from moments that we undergo or partake in. Emotions are thus created by the brain, giving “meaning to bodily sensations based on past experience” (Zimmerman 2023). By embracing and acknowledging emotions, we realize that they are a foundation of individuality. Emotions are displayed and processed differently in each human. Emotion connects the mind and the body through mental feeling and physical sensations. How we choose to embody these emotions are important to self-discovery as well as then incorporating it into performance.

In applying these principles, when working with my Theatre on Ice skaters, I often reiterate the importance of emotion and how it aids to the overall performance. I first help them get in tune with their emotions and help them recognize what they are. We encompass how we feel and why we feel this way—similar to a therapeutic session that focuses specifically on emotion. This is a training I often do off the ice at the beginning of the season and intermittently during the practices. I start by ensuring a safe and welcoming space, as it can be challenging to succumb to emotions in an uneasy setting. Following, I assist my students get in tuned with their bodies and become aware of how they feel in them by allowing them to feel the physical sensations within themselves and connect them to an emotion. I encourage mindfulness and
allow them to share as much or as little as they desire. After providing time to feel where they are physically and find their emotion, I have my skaters move their bodies. Without specific criteria,I encourage my skaters to move freely in any way that their body tells them to. Then, I guide them through associations to bring forth their emotions.

An example of this association is through color psychology. Colors often have associations that are commonly recognized— “sadness” can be associated with blue, and “anger” can be in association with red. Delving further, there is more psychology to how colors can play a part in embracing emotion. Color and interpretation are open and can be various depending on the perception. Visualizing emotions through colors is a technique that often comes about. I ask the skaters to imagine the colors flowing through their movements to translate their emotions. Different temperatures, shades, and tones of colors can play a significant role in affecting emotions, as discussed in Color Psychology: The Emotional Effects of Colors. Similarly in the case of color psychology, I utilize music as a tool for emotion as well. By listening to music and paying attention to the sensations in one’s body, they can identify and pinpoint how they are feeling. Music can also act as an experience, which we established is how emotions are born. A tune or melody can be a reminder of an experience, bringing back emotions and feelings or it can create an entirely new experience. These are some tools I employ when trying to get my skaters to understand and embrace the emotions inside them that simply make them human. Connecting emotions to movement through color psychology and music not only enhances self-discovery but also facilitates the integration of these emotions into the skater’s performance.

Alongside this training to understand and process emotion, it is important to become
open-minded to questions and curiosities to help better interpret these emotions. To dive deeper into oneself and discovering emotions, considering questions can aid this affair. I developed a series of inquires that I ask myself when trying to distinguish emotion. The questions fall into the categories of why, when, where, who, and what. Take the emotion and apply these questions to it. Why—Why do I feel this way? Why did this emotion arise? When—When have I felt this way in the past? When do I feel this often? Where—Where do I go mentally when I feel this way? Where can I find comfort in these emotions? Where did this feeling come from? Who—Who makes me feel this way? Who is there when I feel this way? Who am I when I feel this way? What—What sensations am I feeling? What is my body telling me about these emotions? What is my breathing pattern in this feeling? What thoughts are coming about? What words are being said to describe how I’m feeling? These questions can vary, though it is important to ask them to get a clearer grasp on the emotion.

The goal is to have each skater understand their emotions and how to utilize and embrace
them into movement. This process serves as a pathway to authenticity, enabling skaters to
embody the emotional resonance of a performance genuinely. As they internalize and express
their emotions, they can cultivate a deeper connection with the essence of their own narratives, bringing a unique and compelling dimension to their choreography. After a skater can recognize their emotions and how they came to be, they can move on to the next E of Execution, energy.

Energy: The Dynamic Force Shaping Quality and Impact

The element of energy on its own has great importance in terms of the completion of a
piece of choreography. Energy holds many aspects and principles that make it hold significance—all of which need to be taken into consideration when constructing a program. Energy is “how the dancer (skater) moves” as defined by The Kennedy Center. It encompasses the dynamic force, vitality, and intensity conveyed through a performer’s movements, constituting a qualitative aspect that significantly influences the liveliness and expressiveness of the overall presentation. It is expressed through the physical execution, body language, and emotional connection to the routine, ultimately shaping how the performance is perceived by the audience.Energy helps take an initial movement and creates purpose behind it. Purpose is the reason for which something is done. It is the approach that the skater takes when executing movement. Energy is the dynamic and expressive force that shapes the quality, intensity, and impact of movement, conveying emotions and enhancing the overall performance. Within the title of energy, there are diversities to be aware of. The quality of movement can be described in various ways. The Master Choreography Techniques (MCT) Handbook defines many of these terms, ranging from percussiveness to suspension.

To be able to incorporate energy into a program, one must first identify the emotion they
are deeming to perform. The energy in a program should help balance that feeling—whether that be with a contrasting amount of energy or an aligned amount. While the amount of energy may differ, the effort put forth into it distinguishes purposeful movement from blueprinted choreography. Elena Jessop further discusses the power that effort has in correlation to energy. She stated that “effort is a major framework for analyzing movement dynamics including straightened, control, and timing” (Jessop 33). How the skater chooses to move in their program correlates with the amount of energy they choose to use.

In the context of choreography, the concept of energy is closely tied to the physical and emotional engagement of the performer. After taking the time to pinpoint an emotion and acknowledge how it feels, the artist can begin to bring life into it through energy. Energy connects the emotion to the body. Variations of movement can differ depending on what the skater is trying to portray. For example, if a skater has decided on the emotion of sorrow or sadness the energy choices can consist of collapsing motions—which is the “releasing of weight into gravity” as well as sustained movements which are “slow, continuous and connected movements.” Both are defined in the MCT Handbook as are many others. Being able to connect terms such as these to movement will aid in creating that genuine feeling that the artist is attempting to perform. 

Achieving a dynamic and compelling performance requires a delicate balance between well-crafted choreography and the appropriate energy brought forth by the performer. This helps ensure that the artistic picture, as envisioned by the choreographer, is not only realized but is also infused with the spirited essence that only the performer’s energy can provide. Together, energy and choreography create a harmonious synthesis, elevating the performance to a level that transcends the mere execution of movements and becomes a captivating, memorable artistic expression. For energy to be produced, an
emotion must first be established as the root, the foundation.

Teaching skaters the essence of energy in choreography centers on evoking a purposeful and meaningful presence. Demonstrating these kinds of movements can help the skater grasp the purpose behind them and how these motions can help represent emotions. This will emphasize the expressive power of body language and encouraging skaters to infuse their movements with emotional depth. Providing skaters with the underlying reasoning behind energetic movements, emotion, gives elucidation and meaning for moving in a certain manner. Energy brings clarity to the intent of the performance. By fostering an energetic presence on the ice, skaters captivate audiences through the sheer force and spirited execution of their performances. There are different tools and focus areas to tune into when understanding energy, I often analogize choreography as the ice is a skater’s canvas, and their bodies are the brush. The brush is used to paint the art, and the same goes for the body—it creates the art. The body is constructed of many parts, all of which use energy in one way or another. How the skater chooses to use them sets the intention of the piece. Familiarizing skaters in vocabulary used when describing energy is not only beneficial, but vital to the creation process. Terms such as release, contrast, breath, and suspend all hold different, yet crucial meaning when it comes to energy. Providing them with adjectives like pop, wiggle, stretch, freeze, and bounce are all examples of terminology that can be used to describe a particular energetic movement, building a more cohesive creation process. Similarly, educating them on how each part of the body can be used to display emotion through energy is just as important. Stressing how energy gives purpose to factors like facial expressions, gestures, muscle tension, body language, and effort can offer a new perspective.
An effective tool to become diverse with energy is the tempo dial. An exercise such as this can help skaters become more well versed in the topic of energy. The tempo dial is an exercise that can be used to practice different levels of energy. This exercise suggests that while movements may not have “enough” energy in movements, that does not mean there is “no energy.” 

Energy is always apparent, the level of which it is at is where the practice comes to play. An effective tool to become diverse with energy is the tempo dial. An exercise such as this can help skaters become more well versed in the topic of energy. The tempo dial is an exercise that can be used to practice different levels of energy. This exercise suggests that while movements may not have “enough” energy in movements, that does not mean there is “no energy.” Energy is always apparent, the level of which it is at is where the practice comes to play. The tempo dial ranges from 0-10, 0 being in a state of stillness, and 10 being the quickest that movement can be done in the body as humanly possible. This acts as an energy tool because it shows that energy
can be executed in different forms to acquire different purposes. The tempo dial centers the focus on the execution of tempo. It focuses on the speed or pace to which movement is performed. Slower more sustained movements around ranges 1-3 in the dial can suggest a more somber and dark type of emotion like sadness or lonesomeness.

In addition to the tempo dial, the muscle dial comes in to play. The muscle dial can be
defined as a tool that regulates the amount of tension or resistance in the body. The muscle
tension in the arms, legs, core, and face are loose, continuous, and flowy. Similarly, energy
movements on the higher scale of the dial around 8-10 refer to quicker movements like vibratory or swinging movements, inferring more energetic emotions like excitement or joy. The muscle tension in the body now is tight, jagged, and sharp. These movements are not restricted to these emotions, nor are these emotions restricted to these movements. After giving movement to emotions, the questions of “does this energy align with my emotions? If not, what can I change? How can I change it? Would viewers be able to tell what I’m feeling through my movements?” While emotions are the foundation of movement, the energy in which it is portrayed ultimately holds precedence in the execution of the emotion.

In harmony, the tempo dial and muscle tension dial seamlessly intertwine, working as
partners in the creation of expressive movement. As the tempo dial dictates the pace, the muscle tension dial intricately shapes the physicality of each moment. Together, these dials act as a dynamic interface, allowing performers to sculpt their movements with nuance and precision, unlocking a spectrum of emotions that resonate with the observer. In the dance between tempo and muscle tension, expression unfolds, offering a captivating portrayal of the intricate connection between movement and emotion.

The art of Laban Movement can also be a significant tool in understanding energy.
Rudolf Laban’s theory of movement qualities can be an important tool when becoming amicable with energy. Laban categories human movement into four categories, each with a counterpart; space, weight, time, and flow. Space refers to the direct or indirect spatial utilization. When the artist is mindful of space, they can choose a direct, singular focus, targeting specific areas. Conversely, they may opt for an indirect approach, encompassing multiple focuses and being aware of various elements in the surrounding space. Weight refers to the forceful or delicate manipulation of pressure. The artist has the option to accentuate effort or force by resisting it, investing their weight and strength into movements. Conversely, they can adopt a yielding, airy sense of weightlessness in their choreography. Time, the abrupt or prolonged utilization of, is distinct from tempo. An artist’s manipulation of time is evident in their movement. It can manifest as hurried, as if in a battle against time. On the contrary, the artist might convey a relaxed attitude towards time, as if they have an abundance of it. Flow is either constricted or liberated. When an artist’s flow is constrained, they may project a careful and cautious demeanor, allowing only limited movement flow. Conversely, the artist may exhibit uninhibited movement, tossing it around freely and creating an impression of carefree motion. These efforts that Laban stresses all play an integral role in the use of energy. Utilizing the Laban Movement theory provides clarity in terms of seeing different ways of movement.

In bridging the realms of the tempo and muscle tension dials with the art of Laban
Movement, a seamless connection emerges. Both the tempo dial and muscle tension dial, akin to Laban’s categories of space, weight, time, and flow, serve as tools that sculpt the nuances of movement expression. The tempo dial, dictating the speed and rhythm of motion, aligns with Laban’s consideration of time, where the deliberate or swift utilization of time influences the overall impact of the movement. Simultaneously, the muscle tension dial finds its counterpart in Laban’s concept of weight, as the regulation of tension and resistance in the body parallels the forceful or delicate manipulation of pressure in artistic expression. Together, these elements create a dynamic interplay, offering performers a comprehensive palette to craft movements that resonate with Laban’s rich movement qualities. The synergy between the dial mechanisms and Laban’s theory provides artists with a holistic framework, enabling them to explore diverse dimensions of movement and energy expression.

Energy in choreography is a multifaceted experience rooted in core engagement, limb
dynamics, and breath control. For the mover, it involves a heightened physical and emotional
awareness, while for the viewer, it translates into expressive fluidity, dynamic presence, and
emotional resonance. The symbiotic relationship between the internal experience and external expression of energy creates a captivating and memorable choreographic performance. The visual aspect of the performance can be enhanced if the skater elects to prioritize the use of their energy. Prioritizing energy stems from the foundation, emotion. How the skater chooses to utilize the energy to display that emotion leads us into the third and final E of Execution—expression.

Expression: The Art of Non-Verbal Communication

The act of expression allows the skater to bring their own style and creativity to the
choreographer’s work. It is the final piece of the puzzle, infusing both emotion and energy to create a complete choreographic performance. Expression is defined as the way we “convey thought or feeling to the audience” as Angeline Lucas mentions in the article Developing Performance, Expression & Communication Skills in Ballet. This is the use of facial expressions, to the way their movements flow from their breath, and to the tiny details of their fingertips. The overall use of expression plays an integral role in the completion of a program. The use of movement to communicate a message and/or feeling holds so much power. Henceforth adding feeling to that movement is what ties the choreography together. Expression is the non-verbal communication of feelings, thoughts, and concepts through coordinated movements. It is the projection of emotions and thoughts in a piece of work.

To teach a skater how to be expressive involves being very clear about how the parts of
the body move. For example, if discussing facial expressions in an emotion of anger, mentioning how using the eyebrows can show that emotion. Specifying how bringing them lower can symbolize distress or anger, as opposed to raising them as it offers a sense of light and hopefulness. Similarly, how if applying the emotion of anger, fingertips may differ from straight, content hands. Anger-filled motions in the hands can vary from fists, to bent fingers, and more within that realm. Keeping in mind, an emotion we feel inside ourselves can be displayed at different levels of energy. This is where expression comes to light. For example, a skater who chose a feeling of guilt or remorse could ask themselves how to give energy to those emotions and execute them. They could argue that it’s held inside and that they are unsure how to give it the power of life. Energy is about how we move, the strength put into each movement. I often explain this to my skaters—what to you may seem like the smallest of details, could be the realization factor for a viewer. In the example of the emotion of remorse or guilt, the “small” details of a low-hanging head or dropped shoulders opposed to a center-leveled head and straight shoulders shows a large difference in emotion. In the lighter emotion of joy or happiness, extended fingertips and a lifted chin and eyebrows show a more heartfelt feeling, rather than a darker emotion. This could also be the alignment of movement to music. Hitting musical cues or matching choreography to crescendos in the music. Concentrating on body alignment can also teach skaters how to intergrade their bodies to match the emotional tone, whether it’s upright and poised for elegance or lower and more grounded for intensity. These are all aspects to center on when focusing on expression. Emphasizing the importance of authentic emotional expression, encouraging skaters to draw from personal experiences or connect with the narrative of the routine. Utilizing the expressive tools of the body, such as these play a significant role in execution. By focusing on these specific elements, it can help the skater translate the importance of expression into tangible and impactful performances.

A concept that I discuss often with my skaters is the importance of the performer-
audience relationship. There is a known, yet unspoken bond between the skater and the audience. It is the same connection that stage actor has with their viewers. The consistent goal of wanting to leave them with a sensation from the program. The more the skater adapts to their emotions with energy in their program, the more the audience can interpret and respond to it. Writer Bojana Cvejic, of Choreographing Problems: Expressive Concepts in Contemporary Dance and Performance illustrates how “expression embraces both the way things, that is, bodies and movements, are actualized in choreographic performance and the way they are perceived and known in thought” (Cvejic 16). Cvejic’s insights emphasize that expressive concepts in choreography extend beyond mere physicality, encompassing the nuanced interplay between embodiment and audience perception. It is within this symbiotic relationship that choreographic expression achieves its full transformative potential, becoming a shared language of communication between the performer and the observer. The connective bond between the performer and the viewer can be achieved by allowing them to experience the same feeling that the performer is trying to give off. Expression holds so much value, as it is essential for a complete performance. The audience can embrace the skater’s expression through their ability to evoke emotions and tell a story. The audience can then feel connected to the skater’s emotions and engaged in the unfolding narrative.

While many components correlate with the completion of a program, piecing them
together and having them connect fluidly is what brings the performance together. Polishing the program so it is visually engaging to the eye is what separates a complete program from a piece in training. Incorporating the Three E’s of Execution in the order of emotion, energy, then expression can help finalize and complete the program. As previously mentioned, the maneuver of the movements and the meaning behind them comes from within the body, so the gestures the choreographers choose are important. Polishing the gestures can involve making sure even the littlest of gestures are energy filled and precise.

Unifying the Three E’s: Creating Profound Performances

The successful integration of emotion, energy, and expression into a performance is a
collaborative effort between the performer and the choreographer. While both parties share responsibilities, each has distinct roles in creating a compelling presentation. Choreographers play a pivotal role in conceptualizing the theme, emotion, and overall mood of the routine. They design movements that align with the intended energy and emotion, providing guidance and verbal explanations to convey the emotional context. Collaborative discussions with performers are encouraged, fostering a shared understanding of the emotional narrative. Performers, on the other hand, are responsible for bringing the choreographer’s vision to life through precise execution. They must connect emotionally to the routine, drawing from personal experiences or the choreographer’s guidance to infuse authentic feelings into their movements. Expression relies on conveying emotion through facial expressions, body language, and overall stage presence— all stemming from the original emotion.

Being able to teach the Three E’s of Execution involves delving into each E separately and in order understand and create a cohesive piece. Choreographers can implement exercises that focus on specific elements of each “E,” such as movement drills or emotional recall exercises. Metaphors and vivid imagery can be used to help performers connect with the emotional context of the routine. Clear and detailed verbal explanations and vocabulary from the choreographer are crucial, providing insights into the emotional intent behind each movement. Regular feedback and collaborative discussions between the choreographer and performer allow for adjustments, ensuring a stronger alignment between vision and execution. Different exercises can be introduced to aid expression, enhancing the visual impact of movements. Through effective communication, collaborative efforts, and targeted exercises, performers can develop and refine their energy and expression, enhancing their overall performance. It’s a shared journey where both choreographer and performer contribute to the creation of a compelling artistic expression and finalizing a complete piece. 

For example, Tessa Virtue and Scott Moir’s Free Dance at the 2018 Olympics in PyeongChang displays a great illustration of the Three E’s of Execution—fulfilling each “E” and infusing them together. This is often an example I show my Theatre on Ice skaters. About a minute into their routine, the skaters finish a twizzle sequence and have a quick stop—a moment of suspend while ending on cue musically as singer in the music drops his voice. I use this specific section as an example because they not only match musically, but in that moment alone they let out much expression through their energy. The position of their spread fingertips and bent wrists, the use of their facial expressions with their open mouths, dark eyes, low-level of the head and shoulders, as well as the muscle tension in their arms provides a sense of strength and power to their routine. Their facial expressions let the audience know that they are feeling intense sense of passion. 

Now, let’s take this exact choreography and place it on level 2 of a tempo dial. The expression they are giving would be significantly different. Virtue and Moir keep this consistency of expression throughout the piece. Their choreography not only matches the vibe of the music, but heavily uses the root of emotion to energize their skating. These skaters also display a strong connection with one another, as well as with the audience. They can bring the audience into their grasp through their change of movements, their personal chemistry, and their facial expressions. Just by watching, it is noticeable that they are feeling the emotions that they are putting on display. About halfway through their program, there is a mood shift. The music changes, and so does their emotion. It changes to a sense of hope and longing. Due to the emotion changing, the energy also changes. They become softer, more flowy in their movements. Their facial expressions become lighter, their eyebrows are lifted, and their chins are up. They have extended fingertips Their bodies have moments of release as well as collapsing. Their breath becomes more visible—not only as a moment of physical breathing, but as an expressive tool. The music then becomes louder in a sense of power. Virtue and Moir utilize that as their emotions change to love, and they become more solid in their movements. This begins to change in the routine just in time for their iconic move where Virtue stands on Moir’s hips. In that moment, there is a load of emotion spewed out of their performance and into the audience. Virtue’s energy in her upper body and her hands speaks volume. The power within that single sustained move left resonance in the audience. The muscle tension in Virtue’s core, in her arms, her hands, and her head gave her the ability to tell the audience how she was feeling. Their motions become more open and inviting, rather than tough and tight, as it was at the start of the program. As a viewer, we can see the intensity, we can see the romance, and we can see their lust. This performance delved into a spectrum of emotions, from intense passion to longing and power, allowing the story to unfold without words. This piece is a prime example of using emotion, energy, and expression to complete a performance. As mentioned earlier, a performance should strive be remembered—and this is one checks off that box and is still discussed and
brought up years later.

Similarly, Olympic competitor, Jason Brown, does a superb job of utilizing his expression
in his 2022 short program—Sinnerman. While the choreography itself is done greatly, the way in which he brings his own interpretation into it is how he excels. In closer detail, his energy that aids to his expression during his footwork sequence is a prime example of bringing his own artistic perspective into his routine. Specifically, in his footwork sequence where he slides to a stop, releasing his body from the allegro movements to a stop, only for a second before he kicks his leg and raises his arms above his head on cue with a beat in his music. In that stopped moment, he was able to use his facial expressions, especially his eyes, chin, and eyebrows to connect with the audience before moving again. Brown’s musicality to hit cues—like Virtue and Moir—offer his performance to look more pleasing from an audience perspective. He looked so tuned into what and how he was skating, and as a viewer that is very apparent. It was visible to see that his emotions stemmed from a level of excitement and anticipation. He used energy to make his movements align with his emotion by using sharp, percussive movements. Moments of popping and connecting movements with constant muscle tension from his shoulders to his fingers and from his hips down to his toes. His facials aligned with the ambience and universe he was trying to create. How his body moved was purposeful and there was passion and meaning
behind his motions. Focus on the presentation of the program can make the world of a difference, and this is something Brown has learned to excel with.

Ricky Harris does a great job of explaining how the final touches on a program can create a world of a difference. She writes “do not hesitate to put time into the small details of your program. It is this giving of your time that reaps the rewards. In practice you cannot expect to execute your movements and maneuvers perfectly right away. You will achieve quality by working on fine details. Even though you may perform at an early age, it still takes many years before you have the physical and emotional maturity to be an artistic skater with excellence. Youcannot rush that” (Harris 91). The precision of each movement can have so much impact on the overall performance. Finalizing the performance itself may take its own training. Muscle memory falls into play. As I mentioned before, practicing with the amount of energy needed is beneficial so that the body is not overtaken during the performance. Even the littlest of movements make the world of a difference. I often tell my skaters this, and I cannot express is enough. 

In The Intimate Act of Choreography, author Lynne Blom mentions that “the quality of each choreographic moment holds a great amount of worth to the program. Movement qualities are the distinctly observable attributes or characteristics produced by dynamics and made manifest into movement” (Blom 73). In technical terms in the figure skating world, putting forth expression through energy not only aids to the component score, but the precision also helps with the technical score. The execution of each movement helps paint the big picture on the canvas that is the ice. Through the knowledge and incorporation of emotion, energy, and expression, a performance becomes profound and complete.

Conclusion: The Three E’s of Execution

In conclusion, the Three E’s of Execution—Emotion, Energy, and Expression—constitute the dynamic framework that not only defines the artistry of figure skating but also shapes the very essence of a profound and memorable performance. Emotion, as the cornerstone, anchors skaters to their personal narratives, infusing authenticity into their movements. It serves as the driving force that propels skaters to connect deeply with their feelings and translate them into choreographic storytelling. Energy, the vibrant heartbeat of the performance, gives purpose to every movement, influencing the quality, intensity, and impact of the routine. It transforms raw emotion into a powerful and dynamic display, captivating the audience with its expressive fluidity. Lastly, Expression, the nuanced language of non-verbal communication, adds the final layer of finesse. It allows skaters to convey their thoughts and emotions with precision, from the subtle details of facial expressions to the flow of their fingertips. The successful integration of these elements requires a collaborative dance between choreographers and performers, each contributing their expertise to create a shared language that resonates with both skaters and spectators. The captivating performances of skaters like Tessa Virtue and Scott Moir, or Jason Brown, showcase how a meticulous balance of emotion, energy, and expression elevates figure skating into a profound and evocative art form. The dynamic infusion of these elements into a program creates a captivating, and complete performance as an artist. As the skater and audience become intertwined in this shared experience, the Three E’s emerge not just as technical components but as the very soul that breathes life into the frozen canvas of the ice.

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