西游・降魔篇

施罗德加盟第12队？他离队骑士追沃特森库明加_我的网站

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Acrobat Bing Bing backstage at a scenic spot in Beijing Photo: Courtesy of Bing Bing Acrobat Liza performs an aerial acrobatics routine. Photo: Courtesy of Liza

Acrobat Bing Bing backstage at a scenic spot in Beijing Photo: Courtesy of Bing BingAt an amusement park in Beijing, a young female clown tossed an apple into the air several times, catching it each time and taking bites out of it along the way. The seemingly simple routine delighted visitors, many of whom pulled out their phones to film it. Videos of the act have garnered more than 6 million likes on Douyin, China's version of TikTok.
Bing Bing, a young acrobat born in the 2000s, told the Global Times that she first tested the "tossing and eating an apple" routine through short videos before taking it to the stage. After her first performance, she spent the holidays performing it, adjusting the movements and pacing based on how audiences responded.
"Performance is the hardest thing to master. Your facial expressions and body movements have to convey to the audience what you are doing and what you want to do," she said. "The goal is to make them know that you are performing, yet still find it entertaining."
According to Bing Bing, the training behind such performances is far less glamorous than the finished act suggests. "Training is very repetitive. You fail, repeat, fail again, succeed and then fail again," she said. "Practice is what turns quantity into quality, even facial expressions and body movements require deliberate practice."
For Bing Bing, however, mastering the routine is only one part of the job. Once performers step in front of an audience, the carefully rehearsed movements have to adapt to a live and unpredictable setting.
Beyond the theater
In recent years, acrobatic performances have increasingly moved into aquariums, theme parks and cultural tourism venues, where audiences themselves become part of the performance rather than simply watching from fixed seats.
Bing Bing previously performed alongside other clowns at an aquarium, inviting visitors to participate in the act. She said the difference is not merely a change of venue: performers have to constantly interact with the people in front of them.
"Traditional stages are farther away from the audience and are better suited to performances that people simply watch," she said. "Aquariums and theme parks, however, place greater emphasis on interaction and connection with the audience. Even with the same routine and interactions, you can often get unexpected results."
That interaction also changes how performers think about rhythm and presentation. A routine that works in a theater cannot necessarily be transferred unchanged to a tourist attraction, where audience reactions, distance and participation can all alter what happens on stage.
Sun Dawei, head of the Wuqiao Acrobatic School, told the Global Times that this shift is also changing the industry's approach to production.
"Acrobatics used to focus mainly on showcasing skills. Now there is greater emphasis on story-telling and emotional expression," he said. "Performances are no longer confined to theaters, but are increasingly staged as resident shows at cultural tourism venues."
According to Sun, a production usually begins with a theme, followed by the selection of appropriate skills. Performers then refine the routine repeatedly before adding music and stage design and going through multiple rehearsals.
"Traditional signature skills and core fundamentals must be preserved," he said. "Content that simply pursues danger or no longer fits contemporary aesthetics needs to be repackaged. Traditional skills should be given new forms of expression while retaining their roots and appealing to modern audiences."
For Bing Bing, this shift has also been made possible thanks to short-video platforms. Her apple routine gained its first wide exposure online before audiences encountered it in person.
"Short videos have helped more people learn about Chinese acrobatics and traditional culture, and encouraged more people to go to theaters and watch performances offline," she said.
The growing visibility of acrobatics online, however, has raised another question: once traditional skills enter new venues and digital platforms, how can performers avoid simply repeating familiar formulas?
Acrobat Bing Bing backstage at a scenic spot in Beijing Photo: Courtesy of Bing Bing Acrobat Liza performs an aerial acrobatics routine. Photo: Courtesy of Liza

Acrobat Liza performs an aerial acrobatics routine. Photo: Courtesy of LizaBreaking the formula
Russian aerial acrobat Liza, who has lived and worked in China for more than seven years and now performs regularly at Shanghai Qianguqing, a large-scale cultural tourism attraction featuring live performances, noted that the answer lies in how a show is constructed as a whole.
"A performance should start with an overall concept, and then you choose the props and music around it. Music itself can guide the choice of movements, provided the performer already has a solid technical foundation," Liza told the Global Times. "The transitions between movements have to be natural and smooth, like telling a story step by step. Costumes are also important because they complete the character. Everything needs to work together."
For Liza, technical difficulty should serve the performance rather than become the performance itself.
"Real professionalism means making the audience unable to see how hard you are working. Everything should look effortless," she said. "I value beauty and precision in movement. You should not make things more complicated simply to show off your skills. You should improve steadily as you grow as a performer, rather than constantly chasing greater difficulty."
She said that this is particularly important as increasingly extreme acts, including hair- and tooth-hanging, attract attention online.
"Most performers are following established templates, and I rarely see people creating something that is truly their own," Liza said. "You can find your own style and way of expression without taking excessive risks."
From an apple-tossing routine that drew more than 6 million likes to performances in aquariums and cultural tourism venues, traditional acrobatics is finding new ways to reach audiences. But bringing an old art back into the spotlight is not simply about making tricks harder or more spectacular. As Bing Bing's apple routine shows, sometimes it takes a familiar skill presented in an unfamiliar way to make a new generation stop and watch again.
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    　　文章作者为记者Zach Weiss，文章观点与译者无关。

    　　纵观丹尼斯·施罗德的NBA生涯，他被交易的次数之多着实令人惊讶。他一次又一次地证明了自己在攻防两端都是一名高效的球员，但他在各支球队的效力时间往往十分短暂。

    　　去年交易截止日，当他与基翁·埃利斯一同加盟克利夫兰骑士时，人们曾希望他能做出贡献并长期留队。但按照目前的趋势，他很可能将再次被交易，带着合同中的保障年份转投他队。

    　　在效力骑士期间，这位德国后卫确实有过一些令人惊艳的表现。

二 | 但既然他在球队的日子可能即将画上句号，我们不妨来探讨一下交易的具体细节与潜在下家。

    　　施罗德即将加盟生涯第12支球队？

    　　在未来两年里，施罗德拥有1930万美元的保障薪水，这是最保守的估计。而最理想的情况是，他那直到2027年6月底才转为全额保障的合同能被球队正式执行。

    　　然而，面对必须支付的这笔薪水，骑士队似乎已经准备翻篇。詹姆斯·哈登目前仍未完成续约，部分原因是他想等待球队先处理好其他事务。哈登的目标是签下一份能让球队避免触碰“土豪线”限制的合同。相比之下，施罗德在季后赛中时有挣扎，加上队内拥有众多年轻后卫，骑士很难找到留下他的充分理由。

    　　那么，哪些球队有意引进这位拥有14年NBA经验的老将呢？不少球队拥有足够的薪资空间来吃下他的合同，其中一些球队甚至曾在过去与他有过合作。根据骑士记者Chris Fedor的报道，潜在下家包括：活塞、快船、灰熊、雄鹿、开拓者、爵士和奇才。毕竟就在一年前，施罗德还在底特律活塞队担任过季后赛的重要轮换。

    　　黄蜂、活塞、快船、灰熊、雄鹿、开拓者、爵士和奇才均有空间接纳施罗德。

三 |

    　　其他几个潜在下家也合情合理。在犹他爵士，他可以成为年轻后卫们的导师。底特律活塞虽已有丹尼斯·詹金斯，但后者在季后赛中表现挣扎。孟菲斯灰熊阵中已有泰·杰罗姆，但或许他们正需要一位球风坚韧的老将后卫来改变局面，并在交易截止日前将其再次送走。

    　　密尔沃基雄鹿大概率是最不合适的下家，除非他们打算使用延伸条款裁掉施罗德。此外，无论施罗德最终花落谁家，骑士得到的回报恐怕都微乎其微。

四 | 送走他最可能的目的，是为了腾出薪资空间去追求佩顿·沃特森和乔纳森·库明加，同时为队内的年轻人腾出出场时间。

    　　消化施罗德留下的出场时间空缺

    　　随着施罗德大概率离队，骑士的后场轮换将出现空缺。起初，泰瑞斯·普罗克特被认为是填补空缺的理想人选。但现在，他将面临次轮秀米利克·托马斯的竞争。这两名新秀在夏季联赛中的表现都令人眼前一亮，证明了自己配得上进入轮换的机会。

    　　当然，还有正处于上升期的四年级后卫克雷格·波特。在效力骑士的三个赛季里，他出色的运动天赋一直令人赞叹。然而每当季后赛来临，尽管他在常规赛临危受命时表现可圈可点，却总是难逃被弃用的命运。上述球员都将参与到后场名额的竞争中，在某些特定的比赛夜晚，他们肯定都会获得一定的出场时间。

五 | 无论骑士用施罗德换回什么筹码，都不太可能换回一名即战力角色球员。因此，这就是他们替补阵容将要面临的现实局面。

    　　交易时间线

    　　种种迹象表明，这笔交易很快就会发生。薪资空间对于骑士休赛期的后续运作至关重要。施罗德在克利夫兰的时光虽然短暂，但他赛后的社交媒体发文以及他为球队注入的活力，都会让球迷铭记于心。

    　　去成就伟大吧，施罗德，无论你的下一站在哪。无论是作为年轻球员的导师，还是季后赛球队的轮换后卫，他都会有属于自己的高光时刻。这是克利夫兰骑士在去年亲眼见证过的。

    　　下一次更新，大概率就是官方宣布交易达成了。