yuzurujenn Posted May 4, 2024 Share Posted May 4, 2024 I'd like to compile interview articles of Yuzu by archiving the links and posting machine-translated text here. It's a mix of JP>EN and JP>CN>EN, please note inaccuracies may exist. Unless stated otherwise, the English (machine) translations are completed by me. ---------------------------------------------------------------------------------------------------------------------------------------------- 2024.01.07 Source: https://hochi.news/articles/20240107-OHT1T51126.html?page=1 Archived: https://web.archive.org/web/20240504125110/https://hochi.news/articles/20240107-OHT1T51126.html?page=1 Yuzuru Hanyu "I have to give my best performance". "RE_PRAY" a fusion program of game & music ``Exclusive Close-up! Documentary Yuzuru Hanyu RE_PRAY,'' which follows the solo performance ``RE_PRAY,'' which was planned, written, performed, and executive produced by professional figure skater Yuzuru Hanyu, was broadcasted on TV Asahi on the 7th. Reveal hidden contents The tour, which began at Saitama Super Arena in November 2023, is an ice story that expresses a magnificent world view. One of the themes was fusion with game music, and the production was handled by MIKIKO, one of Japan's leading choreographers. Ringo Shiina's "Chicken, Snake, and Pig" was choreographed by MIKIKO. After receiving guidance from MIKIKO while standing in front of a mirror on land, he applied his movements to the ice. There is also a scene where MIKIKO reveals with a smile, ``He’s a very quick learner.'' ``I want to create a program that can be shown without jumping,'' said Hanyu. Ado's ``Ashura-chan'' was performed by dancing, ``Final Fantasy 10'' theme song ``Itsuka Owaru Yume'' was performed by skating, and part of the song ``Undertale'', ``MEGALOVANIA'', was performed by just spinning. Fascinating. This is a gruelling one-man show in which he performs 12 performances, including three new programs, for approximately two and a half hours. ``The Messenger of Destruction'' (Final Fantasy 9), which was performed after a 6-minute practice similar to a competition, had a ``jump composition and difficulty that could be used in a competition'', including 3 quadruple rotations and 2 triple axel (3 and a half rotations). After his performance, he ran out of oxygen and collapsed backstage. ``People around me often say, ``You're really skillful,'' but I've never thought of myself as being that. If anything, I’m scared if I don’t listen to all the music to the point it gets into my body, my head hurts every time.'' ``The reason I want to continue even if it's so hard is because there are people who come to see it. There are people there who expect something from me and who want to see it. Because of that, I want to show some good performance, in front of the people who want to see it. There are also people who want to share my ice story, and I will do my best for those people. I have to give my best performance. That's my motivation," he said, adding, "That's what makes me want to get better and keep working hard to deliver even better things. I hope I can get better that way," he said. Performances in Saga (SAGA Arena) will be held on January 12th and 14th, and Yokohama performances (Pia Arena MM) will be held on February 17th and 19th. Link to comment Share on other sites More sharing options...
yuzurujenn Posted May 4, 2024 Author Share Posted May 4, 2024 2024.01.13 Source: https://nishispo.nishinippon.co.jp/article/811644/2/ Archived: https://web.archive.org/web/20240504131034/https://nishispo.nishinippon.co.jp/article/811644/1/ https://web.archive.org/web/20240504130755/https://nishispo.nishinippon.co.jp/article/811644/2/ Yuzuru Hanyu performs for 2 and a half hours in his first solo performance in Kyushu, ``I want to express my full power even if it means sacrificing my soul.'' He also stands by the victims of the Noto Peninsula. Yuzuru Hanyu (29), who won two consecutive Winter Olympics in men's figure skating and turned professional in 2022, performed "Yuzuru Hanyu ICE STORY 2nd ``RE_PRAY'' TOUR'' at SAGA Arena in Saga City on the 12th. This will be Hanyu's first solo performance in Kyushu. It attracted approximately 5,500 spectators from Japan and abroad. The Saga performance will also be held on the 14th. Reveal hidden contents Hanyu danced vividly on the silver board set up in the brand-new arena. The production combines life with the world of the game, making full use of video technology such as large screens and projection mapping. After completing a gorgeous stage befitting the new year, he exuded a sense of fulfillment, saying, ``I'm really happy to be able to skate in front of everyone.'' ``I want to use the framework of this ice story to convey various things to everyone as a story. I created this story with the hope that people will enjoy the skating, and the characters, along with the story." It was two and a half hours of breathing life into the programs and performing with all his heart and soul. The show opened with the song ``Itsuka Owaru Yume'' from the popular game ``Final Fantasy 10,'' and he went on to perform high-quality jumps, spins, and steps throughout the show. The excitement reached its climax when he performed the encore of ``SEIMEI,'' the free skate from the 2018 PyeongChang Olympics where he won the gold medal, to a standing ovation from the audience. In the new program "Messenger of Ruin" that was used in this tour, there was a scene where he fell while jumping. ``I think that’s part of the ice story, including that fall.'' Including that, he gave his best performance today. As a competitor, he won two consecutive Olympic titles and attempted an unprecedented quadruple and a half jump. Even after he turned professional, he continued to perform with great success, including an unusual solo performance at Tokyo Dome. During the talk session, he revealed that recently people around him had told him, ``Maybe you don't have to work so hard and risk your life so much?'' His fans have also expressed their concerns on social media and other channels. He himself talks about the behind-the-scenes of his solo tour, where he skates alone for long periods of time, saying, ``It's tough, and I'm very proud of it.'' Even so, Hanyu says, ``I won't be satisfied unless I work hard.'' “Right now, I want to express my full power, even if it means sacrificing my soul.” The world situation is unstable, and there is a series of dark news in Japan, such as the earthquake in the Noto Peninsula starting on New Year's Day in 2024. Mr. Hanyu, who experienced the Great East Japan Earthquake, said, ``The world is really in trouble right now, and the situation in the Noto Peninsula is also the same, and the world situation is still not good...I'm sure you're worried about various things, even personal ones", empathizing with those who are on the edge of suffering. The performance on this day included the hope that everyone would be able to enjoy it, even if it was just for a little while, even if it was just a little bit of virtual energy. ``Tomorrow will come as long as we don't stop moving forward. Therefore, there may be times when we don't want to move towards tomorrow, as I myself felt that way on March 11th, but I would be happy if, through this story, I could inspire people to think about moving towards hope and do their best tomorrow." Believing in hope for tomorrow, Hanyu will continue to skate gracefully and strong this year. (Serika Ito) [Full text of Yuzuru Hanyu's comments after his performance on the 12th] - Thoughts after completing your first tour in Kyushu in the new year. ``Anyway, I'm really happy to be skating in front of everyone, and the framework of this ice story itself really makes me want to convey a lot of things to everyone as a story. I'm creating this with the hope that you can enjoy the skating, and the characters, along with the story. I skated thinking that I would be happy if you could feel it.” -What is your image of Saga Prefecture? ``I haven't been to Kyushu very often, and at this time of year, maybe it’s just for now, but it was much warmer than I expected, even though it was January. The atmosphere of the city also felt very homely, and even when I was heading to the venue, I could feel the calm atmosphere while looking at the scenery.'' -What message would you like to convey to everyone in Saga through this ice story? ``It's in the epilogue at the end, but really, unless you stop walking, tomorrow will come. There may be times when you don't want to move towards tomorrow, as I myself felt on 3/11, so I would be happy if everyone, through this story, even just a little bit, would feel inspired to walk towards hope and do their best tomorrow." Link to comment Share on other sites More sharing options...
yuzurujenn Posted May 5, 2024 Author Share Posted May 5, 2024 2024.02.19 Source: https://hochi.news/articles/20240219-OHT1T51224.html?page=1 https://hochi.news/articles/20240219-OHT1T51228.html?page=1 Archived: https://web.archive.org/web/20240505054646/https://hochi.news/articles/20240219-OHT1T51224.html?page=1 https://web.archive.org/web/20240505054858/https://hochi.news/articles/20240219-OHT1T51228.html?page=1 “Yuzuru Hanyu ICE STORY 2nd “RE_PRAY” TOUR,” the first solo tour performance by Yuzuru Hanyu, who won 2014 Sochi and 2018 Pyeongchang Olympics in men's figure skating and turned professional in July 2022, reached its final stage at Pia Arena MM in Yokohama on January 19. At the end of the first half, he performed the song ``The Messenger of Ruin'' from ``Final Fantasy 9,'' and completed the skating without making any mistakes, showing off his powerful performance to the sold-out audience of 7,000 people. Yuzuru Hanyu: ``I want you to live your one and only life properly.'' Q&A after the Yokohama performance with ``prayer'' (Part 1) Reveal hidden contents The Q&A after the performance is as follows (Part 1). -After concluding the Yokohama performance. ``No, really, um, up until now, each time I was on tour, I found various challenges, and I found things I've been able to accomplish. To tell you the truth, every time I was on tour, I've found things I need to improve on. So, in a sense, uh, especially in the first half, I'm always thinking about how to overcome my past self and become stronger, like competing as a competitor. As I was thinking about it, I realized that I was able to practice stoically while pushing myself, and I was able to practice for the Yokohama performance. - Completed 3 shows. "Well, I feel a sense of accomplishment. Compared to myself up to now, I feel like I've practiced the most, and, um, in terms of eating, I continued to spend the days paying attention to various things, such as my diet and sleep. Well, in a sense, it was a day that I was rewarded, and above all, the people who watched it looked really happy, so I'm really glad I did my best.'' -What are your current plans for the future? `` Well, honestly, I thought about that during ``Gift'' too, but that's over. Now, I have put my heart and soul into my skating today as well, so much so that I feel that I have already exhausted all I have to give. Well, I think, more than anything else, it is because of all of you, who come to cover, watch, read, listen, etc., that I am able to do such things as ice stories, and ice shows, I think, it is because of you that I am able to do such things. I am truly grateful to all of you. I would like to continue to do my best in my own way, while being truly grateful to all of you. -Could you briefly describe the theme of the performance? “Well, um, well, to put it simply, the days just go on and on, and some of them are really exciting, and then there are days that are nothing but gloom and darkness, days when it seems like it's been cloudy for a long time. But I'm trying to convey the message that I want you all to live even in such a situation. Basically, life comes and goes, but I created this story with a prayer that I want you to live your one and only life properly. Was it brief? Okay?” -What new possibilities have you discovered as a professional? “I'm feeling once again that Ice Story is very tough. Well, originally, as for “Gift”, it was, uh, one performance. Also, the last performance in the first half was, well, it’s a competition program, but it was a short program, so I think I could still manage to do it. So, this time, I wanted to challenge almost the same situation with free program, but it was really tough. However, after having been challenged many times in the form of a tour like this, I have finally been able to feel again that I can achieve results if I train in this way, and I could improve myself every time. Well, that’s also part of my story, as I gain experience and get better, I hope to show my more technically advanced self again. Yuzuru Hanyu: ``I practiced like crazy and was able to achieve this with the same intensity as the Olympics.'' Q&A after the Yokohama performance (Part 2) Reveal hidden contents The Q&A after the performance is as follows (Part 2). -What things evolved over the three shows? "Maybe some kind of training methods. Well, that's right. I feel that my training methods have been reestablished." -What about evolution in terms of expression? ``Ah, well, I was also thinking about the thoughts of the composer and the feelings I wanted to put into the story. Also, I was thinking about what the people who were directing and lighting the show wanted to show, and what their feelings were, and the more I skated, the more I felt it. I think it was great that I was able to skate the way I did. - How did you manage to push yourself that far? ``For example, I wake up in the morning, stretch and train for an hour, then go to practice, then train and skate for three hours, then come back home and train for an hour and a half, and then do an hour of image training before going to bed. I kept repeating days like that. I’ve been practicing and doing image training a lot more than when I was competing. But somehow, while I wanted to show something really good, at the same time, I felt once again that my ability was vastly inferior to what I wanted to show, so I really want to continue to evolve." - Evaluation of “Messenger of Ruin” with no mistakes. ``I feel like it's like a competition, and my practice has finally paid off. I've been working hard every day to go through practice three rounds and make no mistakes all three times. However, as I went through the first half of the show, I kept repeating things like changing clothes and putting on shoes during the video part, and I started to lose my grip strength. It was totally different from just skating. But to be able to make no mistakes in such a situation was a moment when I realized once again that what I had done was right. -About the role of water. What meaning do you want to express? ``I have this image that water is like the root of life. I have a strong image that when life is born, it comes from water. It is because of water that, well, plants are formed, and we, mammals, are created and so on... I used water as a symbol of life, as the root of the evolutionary process. -What about the tree? ``It's like, uh, life, for example, if something like uh, life, started from the roots of a tree, then it gradually splits off and goes in various directions. But when you look for the root, I realized that we were all just one, newly born, completely empty self, and from there, we branched off into various paths and did various things. A branch may break there, but if you walk from there, you might be able to make something out of it. I was sharing various images with MIKIKO-sensei while creating this work.'' ―When you said “I feel lonely” at the end of the performance, was it about parting ways with “RE_PRAY”? “Ah~ I guess. I felt a sense of accomplishment that I was able to finish it today, so in a way, it might be hard for you to imagine, but in a sense, it was like winning the Olympics for me, and I was able to achieve something that I had practiced so hard for. I was happy because I was able to accomplish something, and along with my happiness, I was also feeling sad. However, I think I can still improve my skills and become even stronger, so I will practice more". Link to comment Share on other sites More sharing options...
yuzurujenn Posted May 5, 2024 Author Share Posted May 5, 2024 2024.02.29 Yuzuru Hanyu, World Figure Skating magazine 100th issue (MAR 2024) Now, as a famous figure skater, what range does he aim for as a performer? A long interview with Yuzuru Hanyu who just finished his "RE_PRAY" Saga performance! Yuzuru Hanyu, a figure skater who has won two consecutive Olympic Games championships and achieved a Super Grand Slam has achieved many great achievements. In July 2022, Hanyu held a press conference to express his decision to retire from competition and enter his professional career. Since then, he has successively held solo performances in which he skated the entire show, the first Tokyo Dome performance in the history of figure skating, a performance full of requiem and prayer, and his first tour, showing the world his versatile and active figure. The figure skating performance that Hanyu puts his soul into is opening up a new dimension of figure skating with specifications that far exceed expectations. Yuzuru Hanyu, who continues to challenge himself as an athlete, once again talked about his sincere thoughts on figure skating. Info: https://worldfigureskating-web.jp/news/6196/ / https://www.amazon.co.jp/ワールド・フィギュアスケート-100/dp/4403311598 BTS: https://worldfigureskating-web.jp/news/6632/2/ Auto translation from: https://weibo.com/5437806211/OaN8SCn0A Reveal hidden contents [My mission as a figure skater] Q: On the occasion of the 100th issue of "World Figure Skating" magazine, we are very honoured to invite Yuzuru Hanyu for an interview. This magazine was founded in December 1999, and Hanyu probably started his figure skating journey at the same time. Hanyu: I started skating around 1999. I started skating when I was 4 years old, around the summer of 1999. Wow~I miss it so much! I have the first issue of this series of magazine. The cover at that time was Michelle Kwan, and the back cover was Yagudin. I miss that Piano costume (of Yagudin's) very much. And (after turning the page) wow ~ Plushenko! I loved figure skating at that time. Oh, and Timothy (Goebel). Q: That was when you first started skating. What did you like about the skaters of that era? Hanyu: The players at that time had very distinct personalities. Although I like figure skating very much, when I was a child, I only watched the athletes (performances) that I really liked and was interested in, so at that time I only watched Plushenko, Yagudin, Honda (Takeshi), and occasionally Timothy. In a sense, I just look at the figure skaters that I like. The top players of that generation all have their own unique personalities that make them shine. Although they all have their own unique characteristics, they have different styles, different ways of expression, and extremely outstanding personalities. In this sense, I still like that era very much. That is also the generation I admire most. Q: I see. Hanyu: I first started getting into figure skating, not because I had a figure skater that I admired and thought, “I want to be like that,” but because I just wanted to follow my sister and do the same thing as her, so from a certain point of view, my initial contact was not with figure skating. But when I watched the Olympics, those athletes made me think for the first time, "I want to be like that." Although their personalities are very strong, they are not offensive and they are really skating in their own pure way. Q: What started out as a pure dream has led you to revolutionize the sport of figure skating. Hanyu: No, no, no. Q: In the meantime, you continue to be at the forefront of figure skating. First of all, please allow me to ask you about the "notte stellata" performance held in March. It can be said that Hanyu has been a symbol of revival after the Great East Japan Earthquake, but this year, due to the Noto Peninsula earthquake that occurred at the beginning of the year, I think this performance will become even more meaningful. Hanyu: Please allow me to express my condolences to the victims. Although I have lived for 29 years, in recent days, I have once again realized that Japan is a place that frequently encounter disasters. There are many natural disasters in Japan. In addition to earthquakes, there are also many natural disasters such as heavy rains. This is probably the fate of living in Japan. However, this also made me feel again that injecting prayers for various natural disasters into my figure skating and skating with full prayers is probably my mission in this era. Q: Hanyu’s love for his hometown, Tohoku, really runs through most of your figure skating career. Hanyu: I think many people living in Japan have personally experienced the tremors of the Great East Japan Earthquake, but I myself did not witness the tsunami. I have also thought about what position I should stand in relation to this disaster. Even so, I continued to figure skate. When I was sixteen or seventeen years old, especially during the season after the Great East Japan Earthquake, I attracted everyone's attention. Since then, I have been conveying a lot of information including my experience in the disaster. In this process, Yuzuru Hanyu and the Great East Japan Earthquake gradually became inseparable. So, both in my competitive life and in my current professional activities, I feel like I have to keep that earthquake in my mind. The experience of that earthquake is central to my life experience. For example, when I won a gold medal or achieved good results, the first thing that came to my mind was the smiles of people in my hometown. I know that I have contributed my own strength to my hometown. Therefore, including "notte stellata", I want to continue to do various activities through skating (to continue to contribute). [Why "ICE STORY"] Q: Since turning professional, you held your first solo ice performance "Prologue" from November to December 2022, and then held the Tokyo Dome performance "GIFT" in February 2023, and will hold the "RE_PRAY" tour as the second part of ICE STORY from the autumn of 2023. Can you tell us why you want to present figure skating in the form of a story? Hanyu: When I was skating as a kid, I wanted to tell stories in the show. And I also like to create and imagine stories. Everything originates from this. If a program can present a story, will everyone see any difference in the various elements presented in the program? This has always been the core of what I want to express. How to describe this - during the competitive period, I will get an objective result after the game. But there are exceptions, such as the 2014 Cup of China. It was because of that collision that the "Phantom of the Opera" was created at that time, and it was also because of that the “Phantom of the Opera” in the Grand Prix Finals was created. The story that I felt through the program became completely different. The story of the program itself has not changed much, but from the viewer's perspective, with the superposition of various factors, the program looks and feels completely different. This is what I felt inside when skating this program. I've created a lot of programs so far, but if I packed them all into one big story now, I think it would look completely different. During the competitive period, I would get results, reported by various media and other additional circumstances, but this time I want to tell a bigger story so that everyone can see different ways of life and gain different insights through the programs. This is my original intention of creating ICE STORY. Q: Is this affected by the transition from a competitive player to a professional player? Hanyu: As I transitioned from a competitive skater to a professional skater, the position of figure skating in my heart has also changed a lot. During my competitive days, I started out thinking about winning for myself. My motivation also comes from the fact that if I can skate well, people around me will be happy about it. I think it may be this sense of accomplishment and the joy of receiving praise that keeps me motivated and engaged in figure skating to this day. Later, due to experiences such as earthquakes, I no longer only wanted to win for myself, but also began to want to win for other people. Now that I have left the competitive scene and become a professional skater, winning or losing itself no longer exists. I think in my mind, figure skating has become "wanting to do something for others." I hope my figure skating can become a part of everyone's life. On the basis of presenting figure skating like this, I hope to convey certain information to everyone more concretely in the story. Q: So, is this a story about Yuzuru Hanyu? Hanyu: No, no, no, there are all kinds of lives, and we exist in all kinds of life. If we want to write, each of our lives can be written into a story. Everyone will be moved by various stories, and also feel sad and painful for them. Under such circumstances, I have distilled and presented a large part of figure skating like this. I think "Yuzuru Hanyu's story" exists in each of you to some extent. So, from everyone’s perspective, the perception of my show will also change. But I actually do not just want to present my own story, because everyone has their own story in their life. I want to be a small piece in everyone's life story. I often think so. [Study body language to present new expressions] Q: In order to present new expressions, you are currently expanding your expression methods through new body language such as dance, imaging technology, and writing scripts in your own words. Do you think your figure skating has undergone a qualitative change as a result? Hanyu: I originally thought that by creating an ice performance with the specifications of "GIFT", I had already expressed everything I wanted to express, but I had to create "RE_PRAY" immediately. I really tried my best to do what I could. Everything that I know was used. (Laughs) That’s why I have to learn more. For myself, I want to create more words, show more areas of dance, and broaden the range of my movements. And I think in order for professionals in every field to think that I'm doing a good job at this, I have to keep working hard. I am currently struggling with my lack of knowledge when it comes to technique in dance and performance. I think I hit the wall more often than people think. In terms of expressing and presenting through words, I am not a liberal arts major, and my major in university was not written language. When it comes to dance, I have not always studied ballet or hip-hop. Everything I try is my own style, but I want to work hard for it and stand on the stage as a professional. As a professional figure skater, I have the performance skills, mentality and expertise that I have developed over the past 25 years. I wanted to apply these and connect them to discourse and dance. At present, I am in a state of exploration. I have explored a lot, but I cannot integrate these explorations into words. My brain is about to explode. I am currently in a state of being exposed to all kinds of new things and trying to absorb them. Q: We are deeply impressed by your production integration capabilities in "RE_PRAY" stage art. The "save data is damaged" at the end of the first half is really shocking, and how the story is unfolded from there. This kind of narrative ability really seems to be from the hands of a professional screenwriter. Hanyu: You're welcome, that part is very dark, right? (laughs) Q: If you receive an invitation to make a movie, would you be interested? Hanyu: No, I don’t think so. I don’t think so at all (laughs). For me, everything I do is for figure skating. I want to learn various things for figure skating, and I think it will help deepen my figure skating. Whether it is writing scripts or creating and organising, I need to master more expression skills and learn more things. Q: I think coming up with ideas is also a challenge. "RE_PRAY" is based on the theme of the game world, isn’t it? Hanyu: It was after the end of "GIFT", or during the "Fantasy on Ice" ice show to be precise, that I started thinking about the next ice show. During the planning process, the staff learned that a certain venue can be rented during a certain period, so we have to start creating new ice shows quickly. I really wanted to continue using the story format, so I had to start writing (laughs). When I was very worried about "what should I do?", I suddenly realized that my origin is games. Therefore, when I started writing the story, I had already decided to use the music of the 8 BIT series, and the characters would be pixellated villains, and using pixellated style to build a worldview of the game world. Not everyone is familiar with games, so I thought a lot about how to convey the worldview that I wanted to express to the audience. At the same time, I had complete trust in MIKIKO-sensei, and I believed she would find a way. MIKIKO-sensei also said to me, "You can go as far into your creation as you want," so I was able to make a breakthrough and write this story. Of course, as the production director, I completed almost all of the performance arrangements and stories myself, but I also have complete trust in the production team, and they really devoted themselves to the production of this ice show. I first created what I wanted to do, but I couldn't just think about my own self-satisfaction. In order to let everyone feel and understand the story, I worked with the staff together to create the ice show. This is how it felt like. To be honest, I didn’t feel that whatever I chose to do would definitely go well. I just felt that because everyone worked together, we were able to create a good work. Q: There are new discoveries every time you perform. Hanyu-senshu's expressions seemed to be different between the Saitama performance and the Saga performance. Hanyu: Really? I just threw myself into it regardless. But I feel like I have more energy now than when I was in competition. But still, my physical strength reached its limit at the end of the first half, and at that time I thought, "What am I doing? I'm so stupid…" (laughing) [The unforgettable scenes] Q: With the launch of new programs, your previous programs have also been re-interpreted and integrated into the ice performance story. During this process, I think you have also reviewed your competitive career. So what scene is etched in your mind when you look back now? Hanyu: The first one should be the 2004 All-Japan Novice (Novice B = Champion). I was very impressed with my first All-Japan Novice win. First of all, this is my first time to participate in an All-Japan competition. Although there were training camps to discover new athletes and regional competitions before this, and I also had the opportunity to meet and get to know many different athletes, I was still new to the All-Japan competition. The number of people coming to watch and the number of referees were also different from before. To me, my performance was perfect under the circumstances and I ended up winning the event and scoring more than I thought I would. The buzz of excitement at that moment, the cheers of "Oh~" from the audience, and the feeling when I jumped 2A beautifully, it was really… I think that was my greatest success experience. It is no exaggeration to say that that success made me love figure skating even more. Then I got a little too confident because of that victory and got carried away. (Laughs) But then the ice rink was damaged in the earthquake, which pained me very much. After that, it was a dark time that I didn’t want to think about… After that, the most important thing for me was Nice (2012 World Championships in Nice = 3rd place). When I did the free skate in Nice, it was the first time I had the opportunity to really feel like I was being supported. Before that, all I had been thinking was, "After all, I'm the one skating on the rink." In the past, I have always believed that the key to winning a game lies in whether I work hard and whether I can display my true strength on the rink. But in Nice, I felt for the first time the power of everyone’s support for me and the power of the staff who supported me. This power was reflected in my figure skating. I realized that the support and assistance I received was not something I could take for granted. So that was a very important moment for me. Q: Sorry to interrupt you, but this competition in Nice is also the first time you have appeared on the cover of our magazine. Hanyu: (Holding the 53rd issue in his hand) Ah~ I was so young back then. Nice is the origin after all. That was really the kind of figure skating that could only be shown at that time. I can no longer reproduce "RoJu" exactly as it was at that time, but this is also the fun part of figure skating. Q: What about after Nice? Hanyu: Hmm… Actually, it’s not the Olympics period that is deeply etched in my mind. The most impressive thing after this was the Helsinki World Championships (2017 Helsinki World Championships = Champion). Even now, when I watch the scenes, hear the cheers, and recall my state of mind at that time, as well as the completion of the program at that time, I am still very excited and have tears in my eyes. It was a really difficult season for me. The short program didn't go very well, and I had some jumps that I never succeeded in. Contrary to the cheers in the venue at that time, there was a complete quiet space in my heart… I felt that such a special feeling has surpassed figure skating and has become a very special space and time in my life. I now feel that the World Championships in Helsinki are more important to me than the Olympic Games. Q: Was that the moment when you felt connected to everything? Hanyu: Yeah, yeah. That's what I need most… The space I want to stay in most, the most joyful moment in my life, is that moment. I want to cherish moments like that, that’s what I’m thinking now. [I still want to get better] Q: Having enjoyed your current professional activities, I am reminded of some of the words you said in interviews many years ago during your competition days that connect to the present. So what is this unwavering core of yours? Hanyu: That would be, I still want to get better. The root of my desire to be better, to be stronger, and to continue to challenge myself is that I want to be praised, and I want everyone to think that I'm doing a good job. In addition, in my own words now, I hope it can be an opportunity for everyone to have some sort of emotion. There are many factors involved in this, and these factors become more numerous as we age. So it’s impossible to make a simple generalization, but what is always consistent to me is my determination to get better. I want to become better, stronger and more capable to present to everyone the things I want to express and create. This has never changed. Q: Previously, Hanyu-senshu mentioned in an interview that Mr. Nomura Mansai has always been at his peak. Mr. Hanyu, you yourself too, despite the passage of time, you have always kept the audience looking forward to it. I think that in order to achieve this, you have also undergone many changes in your heart, right? Hanyu: Indeed. The kyogen that Mr. Mansai engages in is a bit difficult to describe for people who love traditional arts. I think in their eyes it belongs to the genre of folk art. In the field of kabuki, there are also kabuki based on game themes, and Mr. Mansai also uses various techniques to try to launch modern kyogen and Noh dramas that are completely different from the past. Some viewers are looking forward to this. For those who value tradition, or those who simply want to see a Noh play at a Noh theatre, this performance may seem a bit offbeat. But in a sense, from my perspective, this alternative is the charm of "Nomura Mansai". The modern Nomura Mansai has such a unique quality. He not only appears in TV series, but also has a multi-field acting career. In my opinion, maintaining such style all the time is the unique charm of Mr. Mansai. I believe that for the figure skating world, "Yuzuru Hanyu" must also be a very different existence. But precisely because of this uniqueness, those viewers who have always followed figure skating competitions and like the Yuzuru Hanyu in the past will think, "Ah, figure skating can still be expressed in this way." Maybe some people may also think, "No, I still hope he skates more traditionally." Everyone has various opinions and ideas. But at the end of the day, I feel like figure skating alone cannot fully express everything I want to express to everyone. Mr. Mansai was born into a family where Kyogen was passed down from generation to generation, but he loved rock music and even formed a band, which was later reflected in his Kyogen. So for me, I want to express myself through figure skating, but figure skating alone is not enough. In other words, the so-called form is still figure skating, but now with imaging technology, various technologies, stage settings, etc. can be completely separated from the ice. This is especially obvious in "RE_PRAY". Extend various expressions in silence. Some people may say, is this still figure skating? but I feel that integrating everything I want to express into figure skating is a natural and suitable way for me at the moment. So, I think this is probably the "Yuzuru Hanyu" in everyone's mind. Although my inner thoughts have changed and what I want to express has also changed, the reason why people feel that "it's still Yuzuru Hanyu" is because what I want to pursue has not changed from the competitive days. As a person, what I present from my soul is always the same and has never changed. Therefore, although my thoughts continue to change, in everyone's eyes I remained the same. I place what I want to express on figure skating. Now, I am learning various things and getting in touch with things in various fields. I want to continue to improve myself. This is because I feel that figure skating alone is no longer enough to meet my needs for expression in figure skating. However, it is still difficult for me to describe in detail what is needed. Q: We all enjoy watching Hanyu’s performances. Hanyu: I’m very happy that everyone likes to watch it. It’s not easy to perform though. Q: Through various channels such as your YouTube channel, TV broadcasts, live viewing, and online broadcasts, your performances will be widely disseminated to various places. Hanyu: Got it. As a Japanese, Tohoku and Sendai person, I think there is a unique rhythm cultivated by the culture of this land and water in my heart. This should also be reflected in my figure skating performances. I will continue to hone myself so that everyone can feel the charm of my performance when it is translated into English language or taken as a photo. At the same time, I cherish and am full of pride for figure skating as a stage for my expression. --------------------------------------------------------------------- Editor’s Note: Yuzuru Hanyu’s words are full of spirit to constantly expand figure skating and update the concept of figure skating. Every detail in the interview reflects his deep affection for figure skating. Carrying the fate of the chosen one, he moves forward tenaciously, peacefully, and firmly. —There is no doubt that he will continue to promote the development and deepening of figure skating. (End of full text· Interview/WFS Editorial Department) Link to comment Share on other sites More sharing options...
yuzurujenn Posted May 5, 2024 Author Share Posted May 5, 2024 2024.03.01 - 2024.03.12 Source: https://www.1101.com/n/s/yuzuru_hanyu2024_en/index.html No matter when the world might end: Yuzuru Hanyu x Shigesato Itoi It all started when Yuzuru Hanyu said he was a MOTHER 2 fan on a TV program. This brought about the kind of discussion you only dream about. Not in a cliche way, but really and truly an amazing thing. Last December, Yuzuru Hanyu and Shigesato Itoi met in a studio in Sendai and talked about all kinds of things for two hours. We’re pleased to be able to bring you that discussion. Photography: Toru Yaguchi Clothing: tk.TAKEO KIKUCHI Part 1: A way to be more like those I look up to Reveal hidden contents Hanyu Nice to meet you. Itoi Nice to meet you, too. I think this is probably going to be the most laid back interview you’ve been in. Hanyu Oh, really? Then I’ll take it easy. Itoi Please. (Laughs) Hanyu I am nervous, though. (Laughs) Itoi Some of my staff saw you appear on an NHK show with Gen Hoshino and saw you talking about how you like MOTHER 2. Hanyu Ah, right. Itoi They were really excited. They said “Hanyu’s calling you Shigesato-san.” Hanyu (Laughs) I was watching pro baseball, so when I hear “Itoi-san” it makes me think of former Hanshin Tigers player Yoshio Itoi. “Shigesato-san” makes me more sure that I’m talking about you, but I’ll go with “Itoi-san” today. (Laughs) Itoi (Laughs) Hanyu I’ve been reading your work and feeling really grateful that you’re kind enough to think of me. It was really memorable when you sent a tweet, I think back in 2019, that said I “must be training right about now.” Itoi Of course, I never even thought of you being aware of that post. (Laughs) Hanyu It made me so happy. I also read your interview with Johnny Weir. (“Johnny Comes to Our Office.”) I’ve always idolized Johnny and felt like we shared the same sense of aestheticism, beauty, and style, so when I was reading his conversation with you, I really connected with a lot of it. Itoi I’m not very well-versed in figure-skating, so I’m grateful to be seen as someone who talks about vague things even greater than the sport itself. From my perspective, you and Johnny both are people who I can tell have something they’re trying to do. Hanyu Something we’re trying to do. (Laughs) Itoi By that I mean, whether you’re watching sumo wrestling or pole vaulting, it doesn’t require any specialized knowledge of the sport or its rules in order to see what that athlete is trying to do. I feel like that’s the case with you and Johnny. And I first learned about you through Johnny. Hanyu Oh, really? Itoi Johnny invited me to an ice show at a skating rink in the Hokuriku region, and you were in it. Johnny pointed you out and let me know how amazing you are. Hanyu Was that in Niigata or Fukui? Itoi I think it was in Fukui. Hanyu I think I was around 15 years old then. Itoi Ah, that’s how young you were? Johnny did mention he’d helped with your costume. Hanyu Yeah, he designed it. Itoi That’s right. How did you guys make a connection like that? You can’t normally meet that easily, right? Hanyu I’m very lucky that Japan is famous for its ice shows, since that allowed me to be surrounded by top skaters from around the world. So when I won the Junior Skating competition and was invited to perform in that show, I was able to talk to athletes from all over the world. I’m incredibly blessed to have had the opportunity to make connections like that. So I’ve been skating with a lot of athletes I idolize, like Johnny Weir and Evengi Plushenko, ever since I was young. And not even just skating—having time once in a while to ask them for advice and for their perspective on things. Itoi I’m sure it went beyond even just having that opportunity, and had to do with sharing common ideas with them. Hanyu I can see that. Itoi What about your different languages? Hanyu Figure skating has a lot of universal terms, so while people say them in different accents and it can be hard to understand from that perspective, it felt easy to talk to them even though I was young. Itoi I see. So if everyone’s using the same terminology, a 15-year-old could still converse with a top-performing adult athlete about those things. Hanyu That’s right. I also didn’t have much fear when it came to interactions like that, and was just focused on getting better. I was really fixated on things that I liked or wanted and knew that the opportunity to interact with top athletes was rare, so I didn’t want to waste it or regret anything afterwards. So I asked them a lot of questions and stuff. Itoi So you dove in head first. Hanyu Yeah. I started by shyly asking for their autographs, though. Itoi That’s where you started? (Laughs) Hanyu Yeah, all I knew at first was that I wanted their autographs. (Laughs) I asked them to sign my skates. Itoi So you approached them first as a fan. Hanyu Of course. I’ve been skating since I was four. It wasn’t necessarily that I loved skating, but what happened was that my older sister who was four years older than me started skating and I wanted to go with her. That’s why I started skating. I’ve always really looked up to her as a big sister. Itoi I see. Hanyu I’ve always had a role model around like that, wanting to do things with them, wanting to be like them—and later, it continued when Johnny and Plushenko filled those shoes for me. I had a lot of people I looked up to. Figure skating is a way for me to be more like people I look up to. Itoi Wow. Hanyu I think figure skating, to me, has always been about admiring someone, working hard to reach them, and then trying to surpass them. Itoi So by aiming for and surpassing your idols, you naturally ended up in a high place. Hanyu Yeah. I did start by idolizing an Olympic gold medalist. (Laughs) I think that made it inevitable that I ended up winning two gold medals in a row at the Olympics. Part 2: Thinking about it before I get there Reveal hidden contents Itoi It’s not every day a figure skating fan asks for autographs from some of the top international athletes and then goes on to win two consecutive gold medals. Hanyu I suppose not. Itoi Do you remember at what point you began to realize things were changing and that you could possibly compete in the Olympics? Hanyu When I won the Japan Championship, I felt like I was seeing the results of all my hard work, and it gave me confidence. Then I worked even harder and won again, so that cycle was one of the things that made me feel like I could get there. But mostly, it just felt like I could do whatever I set out to do, without question. Itoi Wow, you’re like a manga character. (Laughs) Hanyu My ability to manifest something, or my attachment to it—whatever it is—seems twice as strong as other people. It’s like I have a superpower when I think about wanting to be like someone. Maybe I have powerful mirror neurons or something. Itoi Interesting! Hanyu And as I imitate them, I gradually master it as my own technique and become better at it. I think it’s just a perpetual spiral. Itoi So ever since you were little, when you wanted to do something, you were able to do it and get better at it. Hanyu Yeah. I was closer to my older sister than anyone, and when I wanted to learn how to pull off all the jumps that she knew how to do, suddenly I’d surpassed her skills. Then I wanted to be like the top athlete among the men’s singles competition, and was able to do the moves that they were able to. In fact, by 17 years old I was able to complete the same quadruple jumps as the generation I admired. After that, I wanted to get even better, and that prevailing thought had me aiming as high as the quadruple axel. (Laughs) Itoi Normally, you’d think a boy from Sendai would be light years away from top athletes from all over the world, but when you saw those athletes and wanted to be like them, that distance really closed in. Hanyu Or maybe I thought there was no one but me. Itoi Ah, yeah. Hanyu That makes me feel a lot like the main character Ness from your RPG game MOTHER 2. He’s just a normal boy, and he’s put into a scenario that has him progressing along a certain path. In a way, I’ve got my own route I’m going along, and I don’t question it. Itoi That’s true, you’ve got things you want to do, and things you need to overcome as you go through your story. Then you train to see if you can pull something off. Hanyu When I was young, it was like I didn’t know the concepts of losing, or being unable to do something. Itoi Isn’t that the case now? (Laughs) Hanyu Well, nowadays, I know enough about society and I have enough knowledge that I can’t quite go back to who I was as a child. It’s like having useless meaning attached to everything you say or do. For example, if we say “It’s raining,” the only actual meaning there is that there are raindrops falling from the sky, the humidity is high, and it’s a little darker outside. But adults assign more to it, like “It’s depressing” or “My body feels heavy,” or “I can’t land my jumps today.” You might call that intellect, but you don’t actually need any of that. It only gets in your way. So even if I’ve got a new goal I set, I stumble over things like the rain, my body feeling heavy, and being unable to land a jump. I’m aware of that going in, though, so unlike when I was a child, I’m always making sure to remove unnecessary meanings from things. Itoi So in other words, when you were a young boy, you didn’t have a choice on the matter and simply did all you could. Hanyu That’s right. I was solely focused on one thing with all my heart. But now that I’ve grown up and all this baggage follows me around, when I want to aim for something, I end up having all kinds of different reasons for doing so, and things get fuzzy. It’s like there are all these different lenses being placed between me and something in my vision, so it’s not in focus anymore. Itoi I get it. Hanyu So I do everything I can to remove those lenses and push my way straight through. I think I’ve been focused on doing that ever since I was young. Itoi That’s exactly what I wanted to talk to you about today. Hanyu (Laughs) Itoi But that would mean that you’re thinking about a greater number of things at all times. Hanyu Yeah. Itoi And the more you have to think about, the more weight there is when you have to decide between them all. But when you’re in the middle of a jump, thoughts don’t matter. Hanyu That’s right. Itoi So I think it’s incredible that athletes, not just you, are constantly thinking about something, but then shake it all off in order to do something. And to do it so often during a competition. Hanyu It’s incredibly difficult. But on the other hand, there are many athletes out there who are still pure, with the same heart they had as a child, and have nothing else on their minds when they’re concentrating on what they’re doing. Itoi Oh, are there? Hanyu Yes. But for me, before I arrived somewhere, I’d think about it really hard. I always had a lot of thoughts I needed to line up in my brain before a competition. Itoi Things like worries and fears. Hanyu Yeah. Something that really stuck with me immensely was the March 11 disaster. Itoi Yeah. Part 3: Delivering voices from disaster-stricken areas Reveal hidden contents Hanyu After the Tohoku earthquake and tsunami in 2011, I went from being just another athlete to being labeled as someone from the disaster zone, so I had a lot more attention on me. That was around the time I was able to hone my skills, and had just gotten a hang of the quadruple jump, so I’d finally reached a place where I had the confidence to compete on the international stage. That’s why it was such hard timing for me to be not just a figure skater, but a representative of the disaster zone, which was an incredibly heavy burden to bear. In some ways I wanted to rebel, because I had people cheering me on for reasons beyond my performance and expression. Itoi I see. Hanyu As far as I was concerned, I’d just been doing my very best during training, and had finally gotten good enough at skating that I was starting to see the results. But I hated how I was changed into this person from the disaster zone, and how that was the new reason assigned to my hard work and success. Itoi How old were you at the time? Hanyu 16 or 17, so it was a pretty sensitive age for me. Itoi I’m sure. And that’s like you mentioned about meaning being attached to something—in this case the competitions. Hanyu Right. Of course, it was a very important thing, and I had that motivation to do my best. But what an incredible amount of weight for one person to bear. It’s too hard to be under that kind of pressure and actually clear your mind when you’re performing. Itoi I can see that. Hanyu So I had a lot of thoughts like that running through my mind as I continued to skate, but that same season, I ended up being able to pull off my best performance at the [2012 World Figure Skating] Championships in France. That’s when I was finally able to grasp the true meaning of everyone cheering for me, and the way it spurred me on. I realized it gave me the strength to skate. Itoi So it surpassed just being an assigned meaning. Hanyu Yeah. I had to strip away a lot of that noise, but I was still surrounded by people wholeheartedly cheering for me. From my perspective, those high expectations were a source of pressure and weight, but ever since then I’ve learned that those are the driving force for my getting stronger. Itoi So that competition in France was really the turning point for you. Hanyu It was. Itoi What could you tell me specifically about that performance? Hanyu I’d actually injured myself in training before that competition. My coach told me I could call it for the day, but I was a little concerned about my set and went to do a quadruple jump. I suffered a sprain when I landed. I ended up competing in the short program like that, but I was still able to pull off a quadruple jump. I ended up making a mistake on my last, simple triple jump which landed me in seventh place for a tough start. But because I’d been able to land a quadruple jump, I was still pretty ecstatic. I couldn’t believe I’d been able to land that jump even though I was injured. I gave the credit to all my hard work, but that’s when my mom chided me for looking at it wrong. She told me not to take for granted all the people who supported me and cheered for me between the time I got that sprain to the time I landed that quadruple jump. Itoi That’s amazing. Hanyu That’s when I realized she was right, that my performance was directly related to the support of so many people. I’d envisioned all the cheers from my usual fans and from all the people cheering me on from the disaster zone, and I skated with all that gratitude in my heart. And as a result, I had an extremely good performance. I think that was a turning point in how I viewed pressure. (*Hanyu’s 7th place free skate performance was “Romeo and Juliet.” He completed all his jumps perfectly in the first half, but fell during a transition and placed both hands on the ice. But besides that, the level of perfection of his jumps and his emotional expression during the performance were so overwhelming that even the fall felt like part of the performance as an obstacle for Romeo and Juliet—for Yuzuru Hanyu—to overcome. The audience was captivated and cheered wildly at the end of his performance. In the end, he achieved his best score of the season and placed third overall. It was his first World Championship, and at 17 years and 3 months old he became the youngest Japanese male medalist ever.) Itoi So you didn’t take that weight off your shoulders, you accepted it. Hanyu Yeah. I let myself feel the weight of all the people who were cheering for me, and was able to become stronger and develop my own style from that weight. Itoi In other words, Yuzuru Hanyu stands at the tip of the pencil lead and writes words and expressions, but none of that could happen without the body of the pencil. Hanyu Right. Itoi Everyone who’s cheering you on is on the same team, but it’s not so clear as it would be for a team sport. You might be aware of that support, but I’m sure you still feel a sense of loneliness when you’re out there skating on the ice. Hanyu Ah, yeah. Itoi It’s a lot to ask for someone to understand all that and accept it—it takes more than just willpower. Hanyu I could see that. I’ve said this many times, but I’ve been incredibly blessed to experience what I have. I’ve had my share of trials and tribulations, of course, but I’m grateful for the opportunities to experience so many amazing things. Itoi For sure. Hanyu I think I’ll be able to look back and point at the experiences in my life that made me stronger. I’ve already had lots of things like that, and will continue to. So I feel really blessed. (Laughs) Part 4: In terms of MOTHER 2 Reveal hidden contents Itoi If there was a “Story of Yuzuru Hanyu,” it would be about a boy with strong mirror neurons that made him more like the people he looked up to, and whose skills quickly powered up. What about his personality? Hanyu His personality. Itoi Main characters grow up in their stories, and their personalities tend to change alongside their skills. What was it like for you? Hanyu Hmm, well, if I were to explain it in terms of MOTHER 2... Itoi That’s a lovely example, thank you. Hanyu (Laughs) In terms of MOTHER 2, Ness for example gets homesick. Itoi Yes he does. (*The main character of MOTHER 2, Ness, is afflicted with homesickness once in a while and is unable to fight in battle. It’s cured by visiting or calling home.) Hanyu But as he gets stronger and stronger, there’s a certain level at which he no longer becomes homesick. I think that’s an incredibly astute way to portray the way that people grow up. It starts by recklessly plowing ahead, but you make friends along the way, you get to know more people, and it’s in that environment that you’re able to fight on. Once you realize that’s happening, it seems clear that the main character’s personality would also be changing as he goes. Itoi That’s true. So in other words, no matter how much strength a person has, if they only go along life with their own power, they’re going to lose sight of their goal along the way. Hanyu Yeah. And for Ness, that was during the time he got homesick the most easily. Itoi Yeah, for sure. As you explain that, I’m kind of thinking that you’re someone who might have the strength to fight with your own power. But strength alone won’t keep you on the right path. I’ve heard it explained in terms of swords before, with a heroic sword and an evil sword. Hanyu Yeah. Itoi They’re both incredibly strong, but in the end, a holy sword would prevail over the evil one in some way. So it’s more than just strength and ability—you have to change as a person, too. Hanyu That’s true. If you only focus on getting stronger, you’ll end up getting careless. In MOTHER 2, you level up so you can beat some enemies you weren’t able to beat before, and that makes your level go up even further. At some point you get strong enough that the battle automatically ends when you run into that enemy. Itoi Yeah, that happens when you’re a certain level above the enemy. Hanyu As a player, that’s really satisfying, but speaking from a sense of character, that doesn’t seem quite right. Itoi Ah, I can see that. Hanyu Until that point you’ve been coming across laid back guys and middle aged ladies and gang members and aliens and fighting various characters, but after a certain point you start to look at everything in terms of experience points. I think that same distorted perspective could happen in real life, too. For example, say I train and win first place in a competition. I’ll be really happy at first, but then I get better and better, and winning competitions becomes a given. That would start creating a distance between me and everyone else. That’s not necessarily the path taken with an evil sword, but it does start to feel that way. Itoi I think humans inherently desire stronger and stronger things, but if something were to have strength and really nothing else, there’s something dull about that. Hanyu Yeah. So the games in the MOTHER series end with final battles that involve a strength different than the standard strength that had been relied upon until then. The commands in the battle system aren’t even the same anymore. Itoi Yes, that’s very true. Hanyu It’s not about inflicting damage, it’s about a heartfelt appeal that extends beyond the characters and actually comes from the player. I think that’s why, to this day, the games have so deeply touched each person who has played them. It takes more than strength to move someone to their core. Itoi Definitely, yes. Hanyu This feels similar to how people that cheered me on after the Tohoku disaster had their own individual stories, and it wasn’t something that could be measured in numbers. I think the reason I feel this way is because when I was little, I had the experience of facing a pitch-black TV screen in the final battle of MOTHER 2, and seeing myself reflected there. Itoi I made that game in the hopes that some kids somewhere out there would be moved in that way, but hearing that it really did hit the mark makes me very happy. Of course, that’s not the only thing I wanted to get across, and I think part of why people were able to get it was because it was presented within a fun thing they were playing. Hanyu I think so too. I wasn’t only moved when playing MOTHER 2, I also had a lot of points in the game where I thought “now that’s just ridiculous.” Itoi (Laughs) Hanyu The script and the puns and stuff struck me as so ridiculous as I played through the game. (Laughs) That cockroach that was in the cave was named “That thing” like you didn’t even want to say what it was. (*Violent Roach in the English version) Itoi And “That other thing.” (Laughs) Hanyu I was like, oh jeez, it evolved. (Laughs) Itoi And the bad guys that keep showing up and each one says “I am the third strongest.” Hanyu Yeah, the moles! (Laughs) Itoi Those kinds of things are more for scoring artistic points when making a game, rather than technical points. Hanyu Ah, yeah. (Laughs) Itoi No matter how strong the framework or technical setup of a game, there’s no guarantee that you’ll be able to express what you want. Even outside of games, when I’m making something, I enjoy seeing to what degree I can flesh out that framework with interesting things. In your case, too, no matter how fast you skate or how high you jump, it’s about performing something that others enjoy. It’s more than simply getting stronger. Hanyu Yeah. Itoi Man, I had no idea you were such a good MOTHER 2 player. (Laughs) Hanyu (Laughs) Part 5: Margins, expressions, and scores Reveal hidden contents Itoi When it comes to artistic expression rather than technique, how do you see your own expression? Hanyu I wonder... I’m not the best judge of myself, but it’s at least important to me to leave some open space, some margins, for people to think on their own. Itoi Margins. Hanyu I think it’s probably the same deal with poetry and copywriting and stuff. You put everything into it to express yourself, but it’s also better to leave some margins there. That allows space for the audience to envision something in their own mind, and that lets you get the message across to them. Itoi So it’s not that you have a complete performance from start to finish, but that you’ve got a completed performance stored within some kind of container. Hanyu You could put it that way. It’s like a beautiful goldfish swimming around in a clean tank. The goldfish itself is complete, but it’s a question of what kind of water plants you install around your goldfish. For example, each person sees things in a different way, depending on their background and values. So if there aren’t margins to allow for each person to insert themselves, they’ll just kind of take what they see at face value, say “Yeah, got it,” and that’s it. Itoi Maybe it won’t be much more than an external concept at that point. Hanyu Yeah. Itoi It all comes together to form a landscape, random foreign objects and white noise and all. So while you’re paying no heed to how much the audience knows what you’re doing as you skate, from the audience perspective, they’re watching the entire scene before their eyes, including themselves as they sit in it. I’m sure each person is seeing a different thing as they watch. That’s why it’s different when you’re watching players from your own country versus someone from another country. Hanyu Yeah. For example, I had a program called “Heaven and Earth” that I performed for my last season in a competition, and it’s because Japanese people know about Uesugi Kenshin and Takeda Shingen that they see my program the way they do. People outside of Japan might wonder who Uesugi Kenshin is, but they’re each seeing their own version of the scene as they watch a performance by Yuzuru Hanyu. It’s fascinating to have a world of expressions like that. Itoi Like each person watching is adding something from their own perspective. Hanyu Yeah. And it’s important to consciously include those margins I mentioned so that the viewer has room to use their imagination in that deliberate space. Itoi Ahh, so you’re setting up space for those margins without knowing what’s going to be filled in there. In a way, you’re entering the rink with quite a magnificent scene around you. When were you able to start doing things like making room for those margins? Hanyu I started to notice it gradually over time. I think the way to do that in skating is probably the same concept as doing it for watercolor paintings. Only the tools and the techniques are different. With written works, a novel with in-depth expressions might add some margins by including some sections more simply worded. Copywriting, meanwhile, would involve a different technique for adding margins since it’s only working with short catchphrases. But the basic expressions and foundation of the two are probably the same. Itoi Yeah. Speaking of that blank space and range of expression, that reminds me of something. The late composer Ryuichi Sakamoto used to be holed up in his studio for hours, and one time I asked him what he was doing. He said he was deciding on what sound to use, so apparently he spent the most time of all just searching for the kind of sound he wanted. Hanyu Wow. Itoi Not the melody, not the rhythm, but the sound itself he said was the most difficult to figure out. It sounded just like you were talking about earlier with those margins. Hanyu Yeah, it’s all about the quality and nature. If you’ve got something written down, it’s going to come across entirely differently if you’ve got it written by hand, versus the Mr. Saturn font, versus a standard font. Itoi It’s all about the sound. Hanyu That’s right. And the nature of it. Itoi Take a quadruple jump, for example. Any of them would have you spinning in four circles, so maybe they’re the same from a technical perspective, but each one is going to leave a different impression. Hanyu That’s exactly it. When it comes to technical points, the standards for jumps are pretty black and white, so there’s a tendency to focus pretty hard on jumps for the sake of getting a high score. But if you go back to the basics, I think Johnny Weir, for example, has a very particular approach to his jumps in that it’s all about his posture when he lands the jump. His landing posture was based on ballet, and cultivating those fundamentals allowed him to descend with such beautiful posture and maintain his flow. That landing allowed him to express himself continuously alongside the music without those jumps cutting his performance into separate pieces. That’s probably the artistry that Johnny was aiming for, and what I’d want to aim for as well. But if you try to combine that technique with a truly difficult jump, it’s hard to pull off. No matter how beautiful your landing is, though, if you can’t make those difficult jumps, you’re not going to get the points, and you’re not going to get in the rankings. Itoi Oh, I see! So his ability isn’t necessarily expressed in his scores. And there’s no leeway in the scores assigned to jumps. Hanyu Right. There are strict standards set for points from jumps, and none of that changes based on anyone’s personal values. But when it comes to expressiveness, speed, depth of the pose, a sense of happiness, and theatricality, that all depends on the sensibilities and values of the viewer. So difficult jumps are necessary as not to have those scores swayed by those external values. That’s the difficulty of competitive figure-skating. You can’t just specialize solely in expression. In a way, I’m aiming to surpass this environment where Johnny performed beautifully without quadruple jumps while Plushenko fit three quadruple jumps into a single performance and did quadruple-triple-triple jumps in a single combination. I’d been chasing that during my most competitive era, and I feel like it continues to this day. Itoi It seems like expression and scoring are at odds with each other, and because they’re both crucial aspects of figure-skating, there’s no easy answer. I’m sure you feel that, too. Hanyu Yes. If I hadn’t known how unstable the scores were for expression and things assigned by someone’s values, I probably wouldn’t have been trying to master more difficult jumps. And even if I had, I probably wouldn’t have been trying to do them with such a high level of quality. I have a strong sense of my own world that I want to express, but I also have a strong desire to win through a performance that isn’t judged by someone’s personal values, has a level of difficulty to it that’s very straightforward, and has universal scoring. I think I’ve been able to come as far as I have because I feel strongly in both directions. Part 6: Figure skating is hard Reveal hidden contents Itoi The approach for scoring points for expression versus technique might vary, but they both require practice. Hanyu They do. So I’ve been thinking lately about how truly difficult figure skating is. There are just too many different things required from an athlete. Itoi It does seem like a lot. (Laughs) Hanyu For example, if this were about speed, the race course would have a consistent set-up so you could practice, compare your performance, and concentrate on it. Of course, there are some difficulties unique to competitions with so few elements to it, but you can at least spend five or six hours a day training for that one thing. But with figure skating, there are six types of jumps for example, but free skating segments require the inclusion of at least seven jumps. So at the very least, you have to practice for seven jumps. At that point there’s just too much you have to work with. Itoi I’m sure. Hanyu You also need to train for spins, which also come in several different types. Turns come in all kinds of types too, so you can turn towards the right, towards the left, face backwards—all kinds of things. It’s incredibly complicated to train for figure skating, which in itself has come to make me feel like it’s also an art form. Itoi Not to mention having to synchronize with the music. Hanyu Yes, if you can. I feel like I can’t quite get it right. Itoi You mean you can’t match your performance with the music? Hanyu I do when I’m practicing, but if my figure skating performance were to be treated like one would a street dance like hip hop, or a jazz dance, there’d be a lot of concerns to bring up about it. I think there’s some leeway when it comes to music synchronization in figure skating in particular. Itoi Oh, I didn’t realize that. Hanyu To put it simply, figure skating involves skating along the ice at all times. If the music pauses for a brief moment, the skater is still moving. Itoi Right. Hanyu If a song has a 4/4 time signature and the song stops briefly on the 16th note, you could technically come to a stop then. But if you add stops across those repeating four-beat measures in time with the music and start introducing dynamics to match it, you won’t be able to figure skate anymore. You can’t just stop with the music like that. If you do want to express your set alongside the music, though, you have to practice for it. You’d have to develop new techniques and think about how to express things so that you could add movement to them. As far as whether it’s necessary or not, I don’t think figure skating goes so far as to require that much. Itoi That’s an amazing way of looking at it. I can tell you’ve already discovered that on your own. Hanyu Once you realize that’s the case, you can’t really unsee it. I assume there are people out there who watch for the dance aspect in our performances and feel disappointed, like figure skating doesn’t live up to what they expected. So from that perspective, while people might wonder why we don’t pick out the rhythm and accents from the song, it’s because we can’t. Itoi Because you’re skating the whole time. Hanyu Right, because we’re skating the whole time. But when I look at it from their perspective I feel like I want to try it out. Itoi Which would mean you’re aiming to accomplish everything, really. So in this case it would involve unnecessary things? Hanyu I suppose I am doing unnecessary things. Itoi (Laughs) Hanyu Things like that wouldn’t have resulted in any points when I was in competitions, but now that I’m a professional skater and want the audience watching my shows to see the performance for what it is, I think the bar is in a totally different place. Itoi Maybe the athletes have more fun when they take a path outside of competitions. Hanyu You actually won’t even find competitive figure skaters really going that route. Itoi Is it from a lack of avenues in that direction? Hanyu More of a lack of awareness. Itoi Oh, really? Hanyu Figure skating is probably more like ballet, if you had to compare. Looking at the origins of ballet, there was a live orchestra performing in the pit right in front of the stage. It’s less about the ballerina making sure to match everything just right with the song, and more about the going along with the sound of the orchestral music. Figure skating is similar in that there's a structure to the techniques. There’s a run-up to that point where you jump, you come down, and know a sound will be coming up that you’ll want to try and match. But that aspect isn’t necessarily asked of figure skaters. Itoi The aspect of matching dance moves to the time of the music. Hanyu Right. But if I were an audience member, it would be hard to accept that after watching for so long. Itoi That’s a tough audience, then. Are there people who actually feel like that? Hanyu Certainly. Itoi Even comparing it to other dances. Hanyu Yeah. Not just matching it up to the music, but other aspects as well. For example, if you look at it as a ballerina dancer, you might recognize the way figure skating overlaps with how ballet follows music. The ballet-like movements of figure skating are definitely lacking in some respects, and from a hip-hop dancer’s point of view, figure skaters aren’t very good at keeping up with the rhythm. But that’s not entirely within anyone’s control, and the number of years and hours sunken into training is different than dance. I mentioned before how figure skating is a genre with challenging standards for training. There are so many different things that require your focus. But ballerinas and other dancers spend decades learning rhythm and matching their expressive movements to it. Even if we figure skaters put all our effort into it and practiced it for a year or two, it wouldn't be that easy—and it’d be difficult to perform ballet or hip-hop moves on ice. I think it’s important to understand that there are significant differences when comparing figure skating to other methods of expression. Part 7: Within a limited time Reveal hidden contents Itoi It must be hard to practice figure skating when it requires access to ice. Hanyu Yeah. And Japan has a relatively short season where you can go on the ice, so that makes it hard to improve at skating—or at least to have the necessary conditions to be able to train on ice. Itoi If you’ve got such a long stretch of time when you’re unable to train, that must mean you’ve got all the more time to think. Hanyu That could be true. I don’t consider it having a long time to think, but rather that I’ve got a very limited amount of time to practice. I probably think exponentially more than other people, though. Itoi That’s the impression I get. Hanyu I feel like kids who do figure skating nowadays see it as more of a sport. Like they’d see how many variations they can jump. When it comes to jumps, you can’t necessarily just think about it forever—at some point you’ll face the answer to what you can do. Expression is a whole different story. It’s more philosophical, so you can think about it forever and ever and never reach a true answer. Jumps, however, have a set definition of success and there’s an actual correct answer for it. So to some extent, there’s only so much you can think about it. Itoi In other words, it’s easy to assume if you practice jumping a lot you’ll be able to do it. People tend to see that as a matter of hard work, but that might be something that actually makes it easy in the end—all you have to do is try it over and over again. Hanyu Ah, that’s true. Itoi There’s a sense of accomplishment behind doing something a ton of times. It seems like that approach stands in the way of people nowadays, though. But listening to you, because you’re not able to do it very often, each and every practice you hold atop the ice seems like a very precious moment you have to take seriously. Hanyu That’s exactly it. It’s a precious opportunity, and I don’t think it’s limited to figure skating. No one’s going to teach you how to make the best of each of those opportunities. It’s not like school, for example, where you’re told to write a kanji ten times to memorize it. Itoi Right. Hanyu I’m sure that kind of teaching style is gradually changing over time, but I think what’s important is someone’s ability to fit quality learning into a short period of time. That one’s crucial for figure skating. Itoi I see figure skating practice is hard enough to get you thinking that deeply about it. Hanyu It is. (Laughs) Itoi There are less places to skate on the ice than when compared to pools and such. Hanyu Yeah. There’s really very little ice in Japan, so it can be a scramble to get a spot to practice. When I was in junior high school, I couldn’t skate any more than 45 minutes a day. And it’s extremely important to practice figure skating while playing music, but when I was finally able to get some time on the ice, I was rarely able to play the song that was for my own program. That’s when I started to wonder what I could do in order to improve. Itoi Has that changed now that you’re done competing and are performing in ice shows? Hanyu It’s basically the same situation. I’ve always loved the sports aspect of figure skating, so when I’ve got time to practice, I work on jumps and spins and really pour my physical energy into it. But lately, I’ve been making sure to set aside time to reset because I’ve used up so much energy. I’ll play games and read manga and stuff when I’m not skating. Now that I’m producing my own ice show, though, I’ve always got on the back of my mind questions about what kind of story I want to tell. So even when I’m relaxing with a manga or game, I’m thinking about what I can incorporate into my ice shows, and it gets tiring. (Laughs) Itoi Ah. (Laughs) So you’re a producer now, through and through. Hanyu Yeah. It’s not just about coming up with ideas for how to portray the world I want to express, it’s also about taking actual steps to do so. I’ve got a lot to learn, and I feel like I need to absorb a lot of things and increase my skills and vocabulary to properly convey the image I want to express. It’s tough. Itoi There’s never an end to things like that, and that’s what’s so fun. However, if you get too caught up in your own world or imagery, you’ll push away the audience. Hanyu No matter how cool or pretty of imagery you’ve come up with, you need to have a desire to express its essence to the audience. If you don’t get that image across to the audience, you’re losing sight of what you need to prioritize. So you need to make things easy to understand. But at the same time, if you don’t focus on things that you personally want to focus on, you’ll lose your motivation to do it in the first place. I make sure to maintain that balance. Itoi Do you have anyone to talk to who feels the same way about that? It seems like you’d be stuck going in circles if you had to do that by yourself. Hanyu There’s someone I call Mikiko-sensei who handles direction for the show, and I talk to her a lot. But in the end, I do have the responsibility to create it myself. Itoi Yeah. Hanyu Sure, there are times I kind of get stuck in the mud, but fortunately, it’s easy nowadays to access all kinds of information and get hints on what to do. But on the other hand, with all that information, the things we make are all the easier to discard and consume. Even if we make something good, people will take it, say “Hey, that’s nice,” and then tuck it away in some corner somewhere. So I think about how we should portray things in such a disposable age we’re in now. If something disappears, we still need to make something new. It’s a bit tough, but I think there are a lot of clues for us to work from. Part 8: People who look back 100 years from now Reveal hidden contents Itoi No matter how much effort you put into your work, I think it’s difficult to create something that will last through generations. Nowadays everything is exchanged and consumed as information, and I think there’s a certain kind of fear in creating things in an era like this. Hanyu I think at the very core of what I want to express is something that remains untouched by time, so as long as I don’t waver on that, I should be okay. I don’t think I’d be able to convey the core of my message if I was afraid of getting engulfed by a wave of information. Itoi That’s true. If you’re scared or hesitant, the parts that were good could end up going bad from underneath you. Hanyu Yeah. As long as I portray the core message. Even with music, you’ve got sources of sound that provide an even better sound than CDs, and you’ve got access to the entire collection with subscription services. Even so, there are more and more people who want that analog sound and prefer to listen to a vinyl record. They probably appreciate whatever sound that can only come from a vinyl record. So even with the amount of information we have access to today, vinyls have a freshness that you can only find in them. Time marches on, but I can see that not everything fades away. Itoi Yeah. Hanyu So it seems more important to make sure we aren’t afraid when producing our work. If, for example, I was figure skating in the 1960’s, I don’t think there would be any evidence of my performances left behind. But if I continue to leave behind images of my performances and stories I’ve told through my ice shows, there will come a time when someone watches that video. I want to be confident that I’m making something that ten, twenty, fifty, even a hundred years from now, whoever watches it really likes it. Itoi It’s nice that you’re recording these videos of your ice shows while also having an audience watching in person. Not only will the audience be able to say “I was there for that,” those who they tell it to will say “You’re so lucky!” Hanyu Ah, yeah. Itoi So there’s a positive aspect to that permanence, and a positive aspect to that transience. During a fireworks show, for example, a brilliant flash of fireworks will fade away, but you’ll remember it. There’s only so much you can do to photograph it. Sure, there are ways to capture the image of the fireworks brilliantly nowadays, but it doesn’t compare to being there in person. So each side of it has its merits. Hanyu That’s true. There are still people to this day who tell me that they feel blessed to have had the opportunity to be in this arena back in 2015. Itoi Oh, I’m sure of it. That’ll stay with them forever. Hanyu And on that note, MOTHER 2 came out in 1994, right? Itoi Ah, right. (Laughs) Hanyu I was born in December 1994, so when MOTHER 2 came out in August that year, I wasn’t born yet. So that game really did cross over time and stay in my heart. Itoi Oh, I see. (Laughs) Hanyu It has been 30 years, but it’s still there. The Super Nintendo was just so alluring with its pixel graphics and the roughness of its sounds that included all kinds of sampling. There’s a gentleness and nostalgia to it that goes even beyond whether the game itself is good or not, but has more to do with being an irreplaceable presence in my life with so many memories piled up in it. Surely it’s in part because the game itself still exists. Itoi Yeah. If no one could play the game anymore, all we’d be able to do is talk about the memories of it. Hanyu Truly. So it really is important to have copies of something. I’ve got those videos and things saving copies of all the things I wanted to express over the years. Itoi It’s nice having our own means of saving an archive of people’s lives at Hobonichi, whether that be through Hobo Nikkan Itoi Shinbun or the recorded videos of our Hobonichi School. For example, if someone has gone down in history, sure they’ll show up on a chronological table, but the details—what were they eating back then, and what topics of conversation did they turn to when passing the time—all disappear. Hanyu Yeah. Itoi So that’s why I mentioned that our interviews are probably the most laid back interview you’ve been in, because that ease is one of the most important parts for me. In standard interviews, that light banter tends to be edited out in the end. Hanyu Yeah. Itoi But we don’t edit it out. We see that as an opportunity to faithfully portray what was there at the time. I feel like that’s kind of the approach I’ve taken since the very beginning, too. And it actually seems the same way with MOTHER. The kind of nonsense that was in the game is just as nonsensical when looking at it today. Hanyu That’s what’s so good about it. Take that one pop quiz that one of the NPC’s brought up in the game: “A Beatles song, ’XXXterday’. Yes or no?” Itoi That one will definitely not make it to any chronological table. Hanyu (Laughs) Itoi But it will remain as a memory for someone. Hanyu Yeah. Itoi Talking to you today, though, I feel like you’ve taught me all kinds of new things about MOTHER. Hanyu No, no. (Laughs) Part 9: Confusing things, catchy things Reveal hidden contents Itoi In the end, what makes something fun is probably your already being happy and having fun, but the people around you sense that and you’re able to share and exchange those feelings with others. Hanyu I agree. But although that seems simple, it’s something that’s hard to achieve. In the world of expression, you tend to go in the direction that makes you feel good when you create something, and you end up prioritizing what you want to say. You may think you’re focusing on the delivery, but it turns out you’re simply going through what you think is good. It’s difficult to strike that balance of being able to share what you think is good, and having the audience resonate with it. Itoi Whether you’re an artist or a musician, it’s something everyone who creates something faces. But that wall might be what makes that desire to express yourself and convey your message so strong. Hanyu That’s true. I also think that maybe not everything can really be conveyed. For example, if someone who loves Picasso looks at his artwork and tries to describe everything Picasso wanted to convey... Itoi They couldn’t. Hanyu No, I don’t think they could. But even though I thought Picasso’s paintings were weird as a kid, as I grew older, I came to find them pretty awesome. People’s values change over time, even if they don’t get it at first. Itoi On the other hand, no matter how much an artist thinks they hit the nail on the head, some things simply can’t be conveyed. And they might make something they feel like they compromised on, and that ends up moving people’s hearts the most. Hanyu It really is hard, isn’t it? I struggle with this often. (Laughs) Itoi Yeah. (Laughs) Poet Shuntaro Tanigawa once told me that “Out of all the poems I’ve written, I think the one everyone knows the most are the lyrics to Astro Boy.” And even though he has written so many wonderful poems, he said he thought it was great that the lyrics he wrote for an anime theme song were the most famous. I thought that was an extremely cool thing to say. Hanyu I see. But I guess if you were asked to create something like Astro Boy continuously and that became your lifework, that would be hard too. Itoi You’re right, that would be difficult. Paul McCartney has created countless songs, but they’re sung and praised because he made them as popular music. If he declared “This is the type of music I want to create!” and only produced songs that were difficult to comprehend, I’m sure the listeners would have a hard time. Hanyu Mozart, for example, is just like that. The music he composed as court music that fit into the mold are widely known, but the music he composed during his later years—the music he actually wanted to create that expressed his true feelings—are completely buried. Of course, there are hardcore fans who love that kind of music, but it isn’t common. Itoi But, I’m guessing that if Mozart hadn’t dug deep into those areas, a melody as famous as Twinkle Twinkle Little Star wouldn’t have been created. Hanyu I agree. Because he had a strong motivation as a writer and an artist, he was able to create catchy things as well. But as a writer, he probably would have been more happy if people understood what he truly wanted to create. Itoi When someone understands confusing things you’ve been thinking about, it makes you happy, as if it recreates all the time you spent thinking alone. Hanyu That’s what it is. That’s probably why I can’t stop expressing myself. Itoi Yeah. Hanyu There’s still that dilemma of wanting to create what you want to create, but still also having to produce something catchy. Itoi But the happiness you feel when you’re able to create something you’re sure everyone will enjoy, that’s exciting too. Hanyu That’s true, but there are times that I’m sure of that, yet it ends up being a bust. (Laughs) Itoi Is that so? (Laughs) Hanyu That’s the difficult but interesting part of expressing yourself. Itoi In that sense, you say you like MOTHER 2, but it isn’t something I put my life on the line to make. Hanyu Ah, yes. Itoi Creating games isn’t my lifework, so I probably made it as if I were playing a really bad game of baseball in some public square. Even so, I didn’t only have fun all the time. It was hard, and I had my share of difficulties. Hanyu Yes. Itoi I definitely don’t think I created a piece of art, but when I meet someone like you, I feel happy that someone understood what I wanted to do. I don’t know, my feelings on it are all messed up. (Laughs) Hanyu In MOTHER 2, each town has a small story, and it’s assembled like a combination of short stories. Itoi Right. Hanyu You then collect a melody, one by one, which is engraved into the Sound Stone at the base of the story. The ice show I’m creating now has small programs existing like short stories, and that might be similar to the game’s premise. Itoi Is that so? I doubt the game has influenced your show, but I’d be happy if there’s something in common. Part 10: No matter when the world might end Reveal hidden contents Hanyu It costs so much money to create an ice rink for an ice show that we rely on sales to be able to even continue holding the show. Itoi Ah, because you have to create a rink somewhere where there isn’t any ice. Hanyu Right. So even if we reserve the venue for a week, it takes so much time to prepare the ice that we can only spend two of those days holding the actual performance. Itoi I see, I see. Hanyu You might think of increasing the number of performances in a day, but that would lower the quality of the show. I’m sure there’s a way to make the show into something that’s easily repeatable, easy to manage, and is catchy to the audience. People would also enjoy it if I repeated some well-known performances I’ve done in the past. But then I wouldn’t really feel like I’m enjoying performing, or feel much meaning behind it. If I’m going to put on a show, I’d want the audience to have a special experience that money can’t buy. Itoi Yeah. Hanyu I want to create something that people will remember forever, like MOTHER 2. Something that doesn’t end with one performance, but something I continue to create. Itoi Even when you’re done competing, you really never stop, do you? Hanyu (Laughs) Itoi But you have a long road ahead of you. Hanyu You mean my life? Itoi Yeah. Hanyu Hmm... You can’t really tell anymore, can you? Things are so unstable in the world, and who knows what kind of natural disasters may occur at any time. Itoi Ah. Hanyu From that perspective, since the ice show takes a full year of preparation, by the time it’s ready to release to the world, I’m not thinking about the rest of my life. I think I just feel like, “Okay, we made it, everything’s fine.” Itoi Have you always thought that way? Hanyu I don’t think the way I think has changed. I experienced the Tohoku earthquake and tsunami, COVID happened, and now we’ve just got the general state of the world, all while traveling around the world to skate. I don’t think living normally has really been the norm for a while. I’ve skated while traveling to various places across the world. Seeing the recent situation, I think that being able to live normally is not something to be taken for granted. Itoi I see. Hanyu I’ve kind of lived my life bracing for things to happen. Like I live my life in such a way that no matter when the world might end, I’ll have no regrets about missing out on something. Itoi ...I didn’t think someone as young as you would tell me that. Hanyu (Laughs) Itoi What I mean by that is, usually elderly people are the ones who think we shouldn’t act like we’ve got all the time in the world. It’s when you start to see the end in sight that you realize you can’t do as much and feel compelled to do what you’ve wanted so there are no regrets. I’m surprised someone as young as you talks like that so earnestly and matter-of-factly. Hanyu I’m sure part of it is having experienced the earthquake. Itoi That earthquake had a large impact on everyone. It made a lot of people realize that we don’t have forever. Hanyu I was practicing when it struck, and it seemed like the building was going to collapse. I honestly thought that was how I was going to die. Itoi I’m sure. Hanyu I’ve taken some courses in bioethics as well, and from the moment we’re born, we’re already heading toward death. After fertilization and cell division, we come into this world as a single being, and then we spend the rest of the time heading towards death. That’s the law of the universe—even the universe is expanding, but will eventually shrink and disappear at some point. I understand that’s how things work, so I just think it is what it is. Itoi Things will end one day. Hanyu It will end one day. If it’s going to eventually end, we should do the best we can now. Whether it’s deciding you’re not going to do anything today, or will spend the day making lots of dad jokes, do it right. (Laughs) Itoi Yeah. (Laughs) Hanyu I have this vague feeling of wanting to live my life that way. Itoi Did you get that mindset from participating in and winning world class competitions from a young age? Hanyu I don’t know if that’s necessarily it. Itoi What if you were a normal high school student? Hanyu Even if I hadn’t taken up skating, I probably would have thought the same way. Itoi Wow. So it’s more a boy who already had that mindset, and he just happened to become a figure skater and end up winning a gold medal at the Olympics. Hanyu Yes, you’re right. When I first started skating, my parents always told me to quit if I was going to neglect my studies. As an extension of that, in junior high school they told me to quit if I was going to lose sight of myself as a person. If I was going to be so engrossed in figure skating that I start losing common sense as a human being or my sense of self-worth, then they told me to just quit now. I remember begging my parents to let me continue skating. Itoi Ah. Hanyu So, whether I’m skating or not, I’d like to think that I’ve always considered whether things are truly right or not, or whether I’m trapped inside my own way of thinking. In that sense, I think there’s the life of Yuzuru Hanyu, and skating is just a layer on top of that. Itoi That’s amazing. Especially what your mother told you. But she probably said that to light the way to happiness for her child. Hanyu I guess so. (Laughs) Itoi It was for your happiness that she would have stopped you from skating if it started to change your personality. Hanyu Yes. So I can say for sure that I don’t dislike studying. I’ve been thinking lately about what I would have been if I hadn’t taken up skating. Whether I ended up being a doctor or a painter or something, I’m sure I would have gone hard on it. Itoi I can see that. (Laughs) Hanyu So, in my life this time around, I made it to where I am because figure skating was right in front of me and I chose to learn it. But I don’t think I would have changed as a human being. Itoi Makes me want to see that parallel universe, too. Hanyu I think it’d be really, really dull. (Laughs) Part 11: Normal is admirable Reveal hidden contents Hanyu Apparently I didn’t speak much for the first two years of my life, and only showed any feeling toward what I was interested in. Itoi That’s interesting. Hanyu I guess I didn’t feel the need to talk. But here I am talking so much right now. (Laughs) Itoi (Laughs) What kind of child were you? Did you play the same way as the kids around you? Hanyu No, I think I was quite different. Itoi I’ve never heard about this before. Hanyu With figure skating, you need to practice really early in the morning and late at night because you can’t train properly when the ice rink is open to the public. So we reserve the ice rink in the morning, then it’s open to the public, and then when their business hours end we can reserve it again and practice at night. During my first years of elementary school, I wanted to play with my friends, but I couldn’t train for figure skating seriously without getting some sleep before going back to practice. So basically, I’d practice in the morning from around 6 AM until 10 AM, go back home, eat, and take a nap. Then I’d wake up and prepare for skating practice again. That was how I spent every weekend. Itoi That’s definitely different from other children. Hanyu Even on school days, the ice rink was nearby, so I’d head straight there after school to practice. I wasn’t always on ice, but practice was from 3 PM to 8 PM, so I didn’t have much time to play with my friends. Itoi So it was already like that when you were a young kid in early elementary school. Hanyu Also, the figure skating scene back then was mainly composed of female athletes. Nowadays there are more male athletes, but figure skating used to be seen as a sport for girls. Itoi The ratio must have been somewhat similar to ballet or something, then. Hanyu Exactly. I was surrounded by girls, and I felt no discomfort with that situation. So I didn’t have a boyhood where I played games or sports with my friends. Itoi You seem to have had a really good understanding of what a normal childhood looked like, even though yours was so unique. Hanyu I wanted to be normal. Itoi Ah, so you’d learned about normality. Hanyu Yeah. When I was little, I really wanted to be normal. I liked baseball, so I wanted to go to the park with my friends after school and play baseball and video games and stuff. It was around the time when new portable game devices like the Game Boy and Game Boy Advance were getting more advanced, and I wanted to battle my friends on them. But my practice hours always conflicted with the hours my friends were available to play. I knew that I needed to train seriously to be able to win a gold medal at the Olympics, so there was part of me that gave up being normal. Itoi So, you admired being normal. Hanyu Yes. I admire being normal. Itoi Normal is admirable. Hanyu I still do think that to this day, to be honest. I wish I could be normal, but a part of me knows that I’d be bored if I was normal. There are things that I thought were normal but grew to realize they were anything but, so I’ve come to understand how weird I am. Itoi Not that that’s a good thing or a bad thing. Hanyu Right. If I were normal, then I wouldn’t be me. Itoi Yeah. So your hobby is to be normal, then. Hanyu I admire being normal. Itoi But now that you’ve stepped away from competitive skating, have the things you’re able to do expanded? Hanyu Yes, so, I guess I’m currently going from “normal” to “weird.” With competitive figure skating, there are rules of things you should or shouldn’t do, so it’s a world where “normal” is very easy to define. Itoi I see. Hanyu But I’m currently at a place where there aren’t any rules. Rather, it’s about expression, which doesn’t even necessarily ask for normal. At the same time, many people coming to my shows want to see normal. If I show them too much weird stuff it’ll go over their heads, so I always think about how to balance things out. Of course, there are people who are looking to see something out of the ordinary, and I do my ice shows because I want to, but at the same time, I still want to convey a message. Itoi So those restrictions from the competitions have been lifted, and now you’re a mix of normal and weird. Hanyu Right. It’s easy for someone looking in from the outside to say how I should do it. Sure, I get it, they’re right, but that’s not how I want to do it. I face too many of these kinds of dilemmas, so it’s all messed up inside my head. But I think that that messiness makes expression special. Itoi I’m sure. The greater the complication, the more power will emerge once you break through and make a single choice. I guess that’s when people are moved by sports or art. Hanyu Yes. What’s really interesting is how moving sports can be, even though unlike art, it’s not about expressing emotion. Itoi Yeah. Hanyu For example, I’d watch a marathon or an ekiden race, and even though I’m not particularly rooting for an athlete, I think of how hard they’re doing, and I tear up. Whether that be baseball or soccer, sports have the power to do that. Itoi Definitely. Hanyu But I don’t think it’s the expression that does it. I think it’s a matter of the results. Results are what make sports so moving. Itoi Ahh. Hanyu On the other hand, now I’m in a place where there are no results to be moved by, and all I really have to compete with is my own expression. Itoi I see, I see. Hanyu I want to create something that moves others, but I can’t lean on any aspect that results would have provided. So in that sense, “normal” is being moved by results. Itoi So you’re back to admiring normalcy without being able to achieve it. Hanyu Seems like it. (Laughs) Part 12: Thankful for games Reveal hidden contents Itoi You’ve sure been a busy person since you were a child. Hanyu (Laughs) Itoi Have you even had any spare moments? Hanyu Of course. That’s probably where I fit in video games. Itoi Ah, I see. Hanyu When I was a boy, any free time I had outside of studies and family obligations was for video games. Itoi I’m glad you had that. Hanyu Truly. There are so many things I learned through it. I think I learned from games that life is a story intertwined with many things, such as having the courage to step out, the importance of friends, and that not everything is what you think it is. Itoi Ah, I’m glad to hear that. I think kids these days learn all kinds of things—up to and including ethics—through the two pillars of video games and mangas. Hanyu Yes, yes. Itoi You could even say the same thing of me or the people who were my teachers. Children learn through play. Hanyu I agree. I especially think so because I’m a millennial and experienced pressure-free education, or the so-called yutori kyoiku in Japan. Itoi Ah, yutori kyoiku. Hanyu We had moral education and integrated studies built into our timetable, so maybe we’re influenced by that. Itoi I’m not familiar with those kinds of classes. Did you find them interesting? Hanyu I did. For example, we played Hyakunin-Isshu during class because my homeroom teacher liked it. Itoi Ah, that’s nice. Hanyu That’s how classes went, but we also had a lot of free time, so we probably spent more time discussing and talking with one another than past generations. Itoi Hmm, I really like that. I think more people should know that about you. Hanyu I’m definitely a millennial. (Laughs) So I do think the pressure-free education of Japan in our generation was a success, but we millennials have to think about how to learn from there. Itoi In the end, it is important for you to think about and decide things for yourself, rather than have someone else decide. Hanyu Exactly. It’s about what someone has to offer as a person, and how we as a society can make use of that potential. Itoi I’m learning so much from someone way younger than me today. Hanyu That’s not true. (Laughs) Itoi I’ve been amazed the whole time we’ve been talking. Although, looking around, I think everyone’s ready for us to be done. (Laughs) Hanyu (Laughs) Itoi I’m sorry it’s gotten so long. I really enjoyed talking with you. And I’m glad I made MOTHER 2. Hanyu Yes, truly. Itoi I’m really, really glad I had the opportunity to talk with you. We’ve never really heard about these things you talked about until today. Hanyu I should show that side of me more then. Itoi Yeah. Please meet with me again sometime. Hanyu Yes, of course. Itoi I’d like to talk about things even more trivial. Hanyu (Laughs) Itoi I also think there’s definitely something in your stories that will be useful to everyone in a tangible way, whether that be your talk about mirror neurons or how you improved your skills. Even for people who aren’t aiming for the Olympics. Hanyu Yes. I feel like many younger siblings have strong mirror neurons. Itoi I’m particularly interested in preschool education and mirror neurons lately. Hanyu Is that so? Itoi I think it’s a really important aspect for adults too. Well, I don’t know whether we’d talk about that next time, but we’ll end things here, now that it’s time and we’re asked to stop. Thank you so much. Hanyu Thank you. Itoi It was so interesting. I was taught so many things. Hanyu No, not at all. Itoi There were a lot of times I had to stay on my toes. Hanyu Ah, I’m happy. Itoi Do you want this Mr. Saturn plush? Hanyu Are you sure? Yay! Link to comment Share on other sites More sharing options...
yuzurujenn Posted May 12, 2024 Author Share Posted May 12, 2024 2024.03.08 The ice show "Yuzuru Hanyu notte stellata 2024,'' chaired by consecutive Olympic figure skating champion and professional skater Yuzuru Hanyu (29) in his hometown, opened on the 8th at Sekisui Heim Super Arena in Miyagi. The event was held for the second consecutive year in the disaster area, which marks 13 years since the Great East Japan Earthquake on the 11th. Below is the full text of the comments from the boxed interview. Source: https://www.sponichi.co.jp/sports/news/2024/03/08/kiji/20240308s00079000628000c.html Archived: https://web.archive.org/web/20240512061355/https://www.sponichi.co.jp/sports/news/2024/03/08/kiji/20240308s00079000628000c.html [Yuzuru Hanyu talks 1] A story spun through a dream collaboration: “Facing fate and moving forward according to one’s own will” Reveal hidden contents ``Thank you as always.' --How was the first day? ``I feel like we all really worked together to put on a great show.' --March 11th marks the 13th anniversary, and what are your thoughts on it? ``After all, I think back on that day, and as that day approaches, I see images again. Also, text, photos, etc. I have more and more opportunities to come into contact with various things. In such a situation, I have a strong feeling that I must not forget. However, at the same time, I believe that there are also people who are having a hard time. There are many people who have suffered from that day, people who have survived through painful experiences, and people who were born on that day and have survived to this day. No matter who they are, even if they were not directly affected by the events of 3/11, I would like to support them. We are thinking about how we can skate through this show so that our hopes and prayers can reach those who continue to support us.'' -This time you also collaborated with Daichi. There was also a standing ovation. ``That's right. Well, I've done a lot of things. It's a performance that was completed after rehearsing with Daichi-san over and over again, and Daichi-san really paid attention to every detail. I feel like this is a collaboration that I can proudly show to everyone with confidence.' -What kind of story did you envision for ``Carmina Burana'' and what kind of things did you hope to be able to perform? ``Regarding this story of Carmina Burana, first of all, I emerge as a very innocent boy who doesn't know the world properly yet, and I am living a happy life within it. I was going on an adventure and touching some plants and flowers. Such an innocent boy. As the boy grows up, the Goddess of Fate appears and he becomes trapped in his fate. He is influenced by the wheels of fate, and is not able to move freely and innocently. But in the end, he confronts fate itself and accepts all of that fate. But there is a story that says you have to move forward according to one’s own will. In this story, there are some natural disasters, such as the tsunami, the earthquake, and now the Noto Peninsula. Disasters and suffering that are beyond human power... Even if you feel that kind of suffering, you have to accept it and move on, even if you have to fight against it. That's the message I want to convey in all my skating. Thank you very much." Source: https://www.sponichi.co.jp/sports/news/2024/03/08/kiji/20240308s00079000633000c.html Archived: https://web.archive.org/web/20240512065806/https://www.sponichi.co.jp/sports/news/2024/03/08/kiji/20240308s00079000633000c.html [Yuzuru Hanyu talks 2] The professional figure that continues to charm: "For me, it's still my first career" Reveal hidden contents -I think you also have feelings for your juniors in Miyagi. What are your current plans for future moves and support? ``For now, as long as I can skate, as long as I can skate at a quality that I'm satisfied with, I'm honestly just concentrating on myself and doing my best. I don’t know if my style will change. I have great seniors who went to the Olympics from Sendai, and I admired them, just like they admired me. I want to show them how cool I am, hoping that there will be more children from Sendai who will work hard to win the Olympics. -Are you still on the ice? “Yes, it might be my second career now, but for me it still feels like my first career. I'm doing it while thinking that it's harder than when I was actually competing (laughs), so I think of it as a first career for me. When I think about what I'm going to do with my second career, things change day by day. For now, I'm concentrating on what I'm doing now, but my mission is to keep showing myself in such a way that when people see me, even if only a little, they will think that figure skating is cool, that I'm beautiful even though I'm a man, that I want to skate in such a beautiful way, that I want to skate like this. I think that's my mission for now. Thank you very much." -What is the concept of the piano song (Danny Boy)? What kind of thoughts are put into it? "'The concept is hope. And in this hope, there is, for example, a past and a future. And it is a hope for the past. So-called hopes for the past are... well... Things that made me happy in the past, or the past to which I want to go back, or before the earthquake, for example. Reaching out to those things. Reaching out to hope. And conversely, there are also scenes where we reach out to the future and pray towards the hope of the future. So, in that kind of link... which side should I say? Starting from the middle, the middle is the present. The left side, looking from the stage, is the past, where the first scene is the first scene you see. And the other side is the future... David Wilson did the choreography for us." Source: https://www.sponichi.co.jp/sports/news/2024/03/08/kiji/20240308s00079000670000c.html Archive: https://web.archive.org/web/20240512070331/https://www.sponichi.co.jp/sports/news/2024/03/08/kiji/20240308s00079000670000c.html [Yuzuru Hanyu talks 3] Held for the second consecutive year: “I want to deliver more hope” Reveal hidden contents --Have you discovered any new possibilities or range of expression by co-starring with Daichi in “Carmina Burana?” “'Well, for Carmina Burana, I asked Shae-Lynn Bourne to choreograph the first half, the part before Ms. Daichi came out, and after Ms. Daichi came out, I asked the person who choreographed for Ms. Daichi to do it, the stage choreographer. With this background, I wanted to make sure that there was no gap between the first half of the skating, in which I was skating to the so-called figure skating choreography, and the stage choreography, in which I was skating to the choreography for the track and field. I have been consciously skating so that there is not much of a gap between the first half and the second half. If the choreography is done on the track and field, the so-called up-and-down... or rather up-and-down, back-and-forth movement, is lost. The depth of the movement itself tended to become smaller. I felt that figure skating needs to be expressed in this way. Because the choreography is from track and field, when I put it into figure skating, it can be more like track and field if I express it in this way, and on the other hand, it also brings out the best of figure skating, and so on. I am making calculations in my head to make sure that the quality of the figure will come out.” ---I felt a kindness and hope that I didn't have last time. Is the overall awareness different? `` Honestly, I'm glad that you felt that way. I had the experience of performing in front of you all for the first time on March 11th last year. To be honest, I myself was in a painful state of mind, and as I said earlier when I was asked a question on behalf of the audience, as I said, I was the one who had to go through it. After all, watching videos and recalling memories can be painful, and last time I was skating with that in mind. During that time, I received a lot of hope, courage, and energy from everyone, so this time I want to give back even more of what I received back then. The same goes for my new program, Danny Boy, and the melody of Carmina is certainly strong, but I hope you can feel something like what I'm confronting within it. In that sense, the spirit was completely different from last year. I feel like the concept itself was completely different.'' That's how I feel.'' (End of interview) ``I'm sorry. (Looking at the reporters who couldn't ask questions) Sorry for the length. Thank you." Link to comment Share on other sites More sharing options...
yuzurujenn Posted May 12, 2024 Author Share Posted May 12, 2024 2024.03.11 Source: https://www.sakigake.jp/news/article/20231020AK0025/ https://twitter.com/kyodo_DeepEdge/status/1777560764976660827 Full interview with Yuzuru Hanyu 13 years after the Great East Japan Earthquake March 11, 2024 in Sendai City (Before the interview, while arranging the camera and lighting, I asked Hanyu, "the three days ice shows just finished you look a little tired." Hanyu replied, "Although there is a reason for this, but as expected all sorts of thoughts come to my mind on this day.") Reveal hidden contents How do you feel about the day of 3.11? It remains the same every year. I will feel pain and recall the experience of that day. Although many things have changed, there are still things that remain unchanged, and emotions that have not changed actually exist. How to say, every emotion is actually very complicated. Do you still remember the situation at the time of the disaster? Yes. I have never forgotten, nor have I ever thought about forgetting. No matter what I do, these memories come back over and over again. I think they will not fade away and will always exist in my mind. Was it during practice when the earthquake occurred, right on the ice? Yes, it was on the ice. There had been several earthquakes before that (*a magnitude 7.3 earthquake occurred off the coast of Sanriku on March 9), so I thought that would be the end of it. At that time, it happened to be the holiday period after school exams, so I practiced during the normal business hours of the ice rink. When the initial shock started, I tried to reassure the guests on the ice that “it’s okay” and provide guidance. I have to say that I am actually somewhat used to earthquakes. You went back to your home? I walked back, but my home was not in a habitable condition at all (note: it was later judged to be in a completely destroyed state). Although I went to a shelter, it was closed and I couldn't stay overnight. So, I walked for about thirty to forty minutes to another shelter. Have you ever felt the fear of having your daily life disrupted? Rather than the fear of daily life being destroyed, it is better to say that there is no sense of reality at first, and that daily life is destroyed before I realize it. I spent four days in the elementary school gymnasium that was used as a refuge centre at the time. “Was this reality?” To be honest, I felt that I couldn't tell the difference at the time. In the blink of an eye, my life, surrounding environment, and the time I had experienced were all changed. So easily destroyed. So, in the short term, my feelings were closer to the feeling of "what happened" than to fear. Do you remember when it started to feel real? Everyone was thinking about the disaster-stricken areas, support was becoming closer and closer to people, and I was also allowed to perform at charity ice shows, so it gradually became more and more realistic. It's almost like a feeling that came to me. Whenever I saw videos on the news or photos in newspapers, no matter how I looked at them, they just looked like CG. I myself am not one of those people who actually lost someone close to me. The numbers were so big and so far removed from me that, to be honest, it didn't seem real to me. You won a gold medal at the 2014 Sochi Winter Olympics, and when you were told that you didn't smile at a press conference, you said, ``It's difficult to talk about the earthquake.'' Do you still remember what you felt at that time? Honestly, if you ask me if things have changed since then, there are some things that haven't changed. Of course, I'll donate money, or if I feel like I can help even a little, I'll do my best to help. However, in reality, even if we provide support, nothing will directly change; for example, in the case of a major disaster like this, even if one person aspires to do something and does something, it will not really change anything. So, if you ask me if the hearts of all people in that area will improve after all, I know that it is honestly difficult to do that. In that sense, there are some things that have not changed since then. However, what has changed over time is that through the ice shows and actually visiting disaster-stricken areas and seeing the smiles on the faces of many people, I have come to realize that I have worked hard, and seen the results of my efforts, the feelings I want to convey, the way I skate, and so on, I was able to feel that there was meaning. You were also called the star of the disaster area. For a teenager, though, it feels like a burden. I would say it was a heavy burden. When I was 16 years old, I would say it was heavy. After all, at that time, I was constantly asked about the earthquake, and even if I had achieved results in a competition, for example, I would be asked, “Well, do you have any message for the people in the disaster area?” No matter what I did, I was always asked about the disaster, and at that time I felt the weight of it all. The earthquake happened at the age of 16, at a time when it was easy for me to feel many different things, and I was told many things by many people, and I personally felt that it was very difficult. It's not like I became famous because of that, but as I achieved the results, I was asked about the earthquake in various places, and I couldn't help but associate Yuzuru Hanyu with the earthquake. To be honest, there were times when I wondered why I had to say something like this. However, because of that, I started to connect my skating, and my life itself, with the disaster, and I have come to think that it is one of the missions of my skating. There are also people who feel afraid and confused about speaking out about the earthquake disaster. Yes. The same is true today. No matter how hard we try, it is difficult to make everyone empathize. As an individual from the disaster-stricken area, I can be considered one of the victims. However, I did not suffer damage from the tsunami, nor did I lose any relatives at the time. Under such circumstances, I cannot face those who directly suffered the death of relatives and friends, and were displaced. The same is true today. Even if I want to simply convey that reconstruction is progressing, in fact, there are still uninhabitable and abandoned areas around the Fukushima Nuclear Power Plant, so I cannot make a blanket statement. However, I feel that I have always chosen my words in the midst of this conflict and contradiction to convey what I want to say. You still struggle with the choice of words. This has not changed. Yes. Fundamentally speaking, it’s not like I can get close to everyone's heart. Although I don't want to give up...how should I put it? Really, no matter how hard I try, no matter how much I want to be there for you, in the end it is still just my own one-sided feelings, and I can feel that there is still something like a boundary. In that sense, rather than words, I think it’s better to focus on figure skating. Compared to language, physical expressions such as figure skating that are not bound by language can allow people to see different things based on their own values and allow people to think more. Continuing from last year, the ice show "notte stellata" will be held in Miyagi Prefecture in March this year. You had a desire to do it around the time of March 11th. This show itself was not planned by me, but I actually visited the disaster-stricken areas and told the people around me that even before I turned professional, I wanted to be able to support the disaster-stricken areas. However, there was someone who made it a reality, and in fact, it is still happening today. That’s why that person took into consideration what I had always thought and put it together to make this work. Thank you for making the show a reality. So, I'm skating with the mindset that I want to give my best performance here. When you were a competitor, the World Championships were coming up, and you said that it was difficult to provide direct support. By becoming a professional, you can reach that goal. To be honest, I don't think that my feelings for the disaster area or the time I spent thinking about that time has changed much. However, I think that my ability to actually take action has changed. I think I have changed in terms of being able to actually take action, rather than just thinking directly about the disaster and practice on my own without taking any action. However, year after year, I had painful feelings and various memories, but I never actually expressed them in front of people or delivered anything, so I think things have changed a lot since I became a professional. A comment published on the 10th anniversary of the earthquake said, ``I think I am the person who has been supported the most by these words, so I am the person who knows the meaning and power of these words the best.'' So let me say this, “Please do your best.” What are the words that you want to convey now? I want to continue to support them. It's no different from what I said at that time, but I myself received a lot of support, and in the course of various activities like this, I received support from many people, and there were people in the disaster-stricken areas who supported the activities themselves, so I really want to continue to support the people in the disaster-stricken areas for a long time. More than that, I would like to express my gratitude and support to the people who are supporting the disaster-stricken areas. Do you feel that you are entrusting that feeling to the ice show you held until yesterday and the solo tour performances since last November? With 'notte stellata', yes, basically. To be honest, I'm a little bit detached from solo performances, but no matter what I say, when I’m saying something or skating, I think that the earthquake disasters are something that inevitably comes with me, so I'm sure there are many words that come to mind in the story of ``RE_PRAY'' (a solo ice show performance). However, with regards to the earthquake disaster and 3.11, I am entrusting all my feelings to 'notte stellata', such as wanting to do something directly, supporting, and cheering people up. You put your thoughts into the songs you skated this time: “Notte Stellata,” “Carmina Burana,” and “Danny Boy.” In the first place, people's emotions are different depending on their values, and when it comes to the earthquake disaster, each person has a different sense of distance in how they deal with it. So, in my opinion, there is no general rule that says how I want people to think about the earthquake. So, to be honest, I don’t think I should tell you everything what I want you to think about Danny Boy, notte stellata and Carmina Burana. However, after seeing each of the performances, each with its own themes, after watching the performances in this time’s notte stellata, I want the audience to feel a sense of hope, and I would like to express my wish that, even if it's just for a moment, the people who were suffering in the disaster area, those who are currently suffering, and those who are actually suffering in Ishikawa right now, can have a moment of happiness. I've continued skating with the hope that those people will be able to forget reality and have some kind of happy moment, even just for a moment. Having seen not only the Great East Japan Earthquake but also various disasters such as torrential rain disasters, what are your common thoughts? Regardless of the severity or scope of the disaster, I think people’s grief is the same. During the Great East Japan Earthquake, we always unconsciously pay attention to some quantitative things, such as the number of casualties, areas and scope in need of rescue. We tend to think that we feel pain because it caused so much damage, because it was such a tragic disaster, but even a disaster like a landslide is very difficult for the victims. Therefore, behind the number, whether it is "1", "1000" or "10000", there is also pain and hardship behind it, which will not change depending on the size of the number. I wish I could convey that. Yuzuru Hanyu and the earthquake disaster are inseparable. How do you want to face it? Honestly, the way we deal with the earthquake, the way we interact with it, and the way we think about it changes every day depending on the situation at the time, and in fact, people who are thinking about various things after the Noto earthquake in 2024, including myself, may change their way of thinking when they think about 3.11 again. I think that the way in which those vivid memories are revived is different for each of us, so I can't generalize what it will be like five years from now, but as I go about my daily life and skate again, I realize that I must never waste that experience, and because I have felt that experience closely, I am sure that there are feelings and a mission that I can convey. I think that's why I want to be involved in the process, searching for ways that only I can provide support. You have been fighting for more than one and half year since you changed to professional. How do you feel about your own evolution? Especially when it comes to "RE_PRAY", what I want to express, what I want to show, including the world view I want to convey, I was not able do it alone. Everyone in the team is serious about showing these things. These real professionals have poured their souls into their creations. From this perspective, I feel that I am far behind. In short, this solo tour performances make me feel this way. After all, the concept itself is completely different from an ice show, the approach itself is completely different, and the way of creating it itself is completely different, so in that sense, I have to evolve myself. I must have the figure skating skills to match it, and I must have the depth of thought to match it. And more importantly, since I call myself a professional, I always think that I have to skate at the highest level in the world as a professional and a figure skating expert. At the press conference in July 2022, you said that you didn't have any feelings of sadness about leaving the arena. Do you still feel the same way now? To be honest, my true feeling is that there's not much point in returning to competition. What I have been doing now is something that is really unimaginable in competitive skating. I don't have any unfinished business in competitive skating, I've already won two Olympic titles, and in my opinion, I've already gone through all the stages and steps that I should have gone through. That's why I don’t see myself returning. I would like to see Yuzuru Hanyu continue to reach new heights as a professional, and continue to master his expressive ability. To be honest, professional figure skaters tend to pay a lot of attention to things like expression, but figure skating is a sport after all, so it is important to have a high level of difficulty, and to challenge the limit of one's physical strength, and sublimate the situation as an expression again. In order to present this, it is necessary to hone my skills and strengthen my physical ability even more. I think that this is a new genre of entertainment that we are creating. So, of course, I want people to pay attention to the expressive aspects, but in order to do that, I always ask myself how much strength and how much skill I have to put into it. Furthermore, while I certainly want to evolve in terms of expression, I want to evolve while always asking myself how much more skill and physical strength I need in order to evolve my expression. Link to comment Share on other sites More sharing options...
yuzurujenn Posted May 12, 2024 Author Share Posted May 12, 2024 2024.04.01 Source: https://x.com/charliebenbrown/status/1774766853371666447 https://weibo.com/2030123513/O88Tsnqd1 CITIZEN x Yuzuru Hanyu Exclusive Interview (New 4A motif collaboration watch) Reveal hidden contents CITIZEN: You've always challenged the Quad Axel, can you share with us the importance about the core spirit of the quad axel and its meaning? I believe that everyone has his or her own goals in life. It is the source of our motivation and keeps us working hard. No matter where you are, what your profession is, or what difficulties that you face, as long as you have a dream, and persist in your faith, every moment can be a new beginning. CITIZEN: Figure skating is a sport that can reflect "beauty". Please share with us your understanding of "beauty". In my opinion, if you want to show beauty in figure skating, you need to integrate the techniques, such as the Axel jump, with the expression of inner emotions for it to become a perfect performance. This collaboration watch fully reflects my pursuit of beauty in performance. I hope everyone can personally try and feel the beauty and charm contained within the watch. CITIZEN: What is the most important turning point in your career as an athlete? Turning professional is undoubtedly an important turning point to me, but this is only a beginning, not the end. I want to keep evolving and skating in the irreversible flow of time. For me, every second is an important turning point. CITIZEN: What do you hope the audience will gain from your figure skating performance? As an athlete, I hope to create a unique art form through the integration of athletic skills and physical fitness such as jumps and spins, with stories and artistic expression through music. I hope the audience will feel deeply moved and happy by my figure skating performances, and I will be very happy if they can gain the courage to face daily challenges. I will continue to work hard to make the audience want to watch my performance again. Link to comment Share on other sites More sharing options...
yuzurujenn Posted May 12, 2024 Author Share Posted May 12, 2024 2024.04.08 Source: https://hochi.news/articles/20240408-OHT1T51002.html?page=1 Archived: https://web.archive.org/web/20240512080506/https://hochi.news/articles/20240408-OHT1T51002.html?page=1 Yuzuru Hanyu returns to competitions: ``None.'' His days as a professional: ``I've been practicing far more than I did for the Olympics. I want to become even stronger.'' Professional figure skating skater Yuzuru Hanyu, who won back-to-back Olympic titles in Sochi in 2014 and Pyeongchang in 2018, held his solo tour in Miyagi, “Yuzuru Hanyu ICE STORY 2nd “RE_PRAY” TOUR,” at Sekisui Heim Super Arena on the 7th. It was the first time it was held locally. On this day, he performed a total of 12 songs for over 2 hours and 30 minutes. It attracted a packed house of 5,800 people. The solo tour, which began in Saitama last November and has been held in Saga and Yokohama, will conclude on the 9th. Reveal hidden contents -What is your next professional ambition? ``Yeah, what are we going to do? I'm in trouble too. However, as long as everyone has expectations, I want to work even harder and show you something great. Actually, I think I'm still in the process of evolving. I hope I can continue to work hard, turn my various experiences into strength, and turn your support into strength as I move forward." -- Great performances in all 12 songs. How do you feel about returning to competition? ``None. To be honest, uh, yeah. I've been practicing far more than I did for the Olympics, so I'm better now. When I think back on the Olympics, um, I think I could have practiced more for the Olympics. But I feel like it's because of this solo performance that I'm able to practice as hard as I can, and I want to become stronger, so I can proudly say I'm definitely better than I was back then.” ―What new discoveries and personal growth did you experience through your solo tour? Also what was your most impressive program? “Well, the structure and choreography of the first program of Part 1 and the first program of Part 2 are almost the same, actually. And, um, the songs are the same, just the arrangements are slightly different, the costumes have changed, the lighting has changed. Well, I was skating with a different feeling, but after watching it in the first half, when you saw the same program again, I wondered, ``How do you feel about it?'' I wanted to convey that feeling, or rather, I wanted people to feel that way, so I chose this structure. The meaning of each program is, of course, besides the feelings I want to convey, I also want to know how it makes you feel, depending on what your background is, what your experiences are. Through this replay, I realized that it is important to pay attention to how people feel when they see this program, and this is necessary in order to evolve. I am happy to do so.” --Additional performances were decided in a hurry. Was it possible because you had the desire to show the peak of your professional skating in your hometown? ``I’m not at my peak yet, but as a professional, I've been exploring and creating a new form of ice story, er, skating, and I'm sure I had a strong feeling that I wanted to skate in my hometown. In fact, people from all over the world came, and this time I heard even people from Taiwan as well. People from all over the world come to my hometown, and I would be very happy if my show was the reason they came to my hometown. I would love to do it in Sendai and Miyagi.” Link to comment Share on other sites More sharing options...
yuzurujenn Posted May 12, 2024 Author Share Posted May 12, 2024 2024.04.25 Source: https://www.fujisan.co.jp/product/1281681333/new/ Info: https://twitter.com/s_style/status/1782703665415110694 S-style May 2024 issue - featuring the Miyagi performance of "Yuzuru Hanyu ICE STORY 2nd "RE_PRAY" TOUR" Approximately 5,800 fans gathered on the first day of the additional performance in Miyagi, which was held on April 7th, 2024. We will deliver footage of this performance, which was only allowed to be covered by media connected to Miyagi, along with new photo shots. Photo: Kiyoshi Sakamoto Text: S-Style Editorial Department After turning professional, Yuzuru Hanyu has been able to perform solo figure skating performances in an unprecedented form called ‘ICE STORY’. Following the first series “GIFT”, the work “RE_PRAY” is based on the theme of games that he loves. The world of games that can be played over and over again, and a life that we can only live once. It is a work that expresses both worlds while also filled with prayers for the people living today. Held in Saitama, Saga and Yokohama, Miyagi was suddenly decided as an additional performance. Many fans came from all over Japan and around the world to see Mr. Hanyu’s event in his hometown. After skating 9 programs, before the encore, he addressed the fans in the venue and said, “I’m sure there are some people who can only come today, I want them to see me do my best with all my heart and soul, so I gave it my all”. He joked, “I’m suffering from hay fever. Why don’t you change your nose with me (laughs)?”, stirring up excitement in the audience, before adding, “If you have a flag, please wave it. I also want to cherish the banners that you all showed me. Thank you so much for all the handmade goods that you all made,” he said, expressing gratitude for the fans who have supported him over the years. After the performance, which lasted about two and a half hours including the encore, he spoke to the media about his work and feelings for the local area. Reveal hidden contents After the performance, local media gathered for an interview. We will publish the full text. --Thank you for your hard work. Hanyu: Thank you. --How did you feel after skating on the first day of your special solo performance in Sendai? Hanyu: I’d say it’s a bit like a competition, it gave me a lot of confidence to see that the hard work I put in produced good results. After all, I always think that in order to say to myself, “I did my best”, there has to be a result, otherwise it is just an “intention”. I feel like today I can finally say that I worked really hard, rather than just feeling tired all the time. However, it’s only the first day, so yes, I’m going to recover and train well tomorrow, and I’m going to do my best to stay focused for the day after tomorrow (the final performance). --Is that hard work referring to the second half of Part 1? From the flow of the 6-minutes rehearsal, I think that “The Messenger of Ruin” had a wonderful performance that surpassed even Yokohama. What do you think? Hanyu: Well, (in a whisper), “Alright! Yes!” I said that in the backstage for a while (laughs). But really, the reason why I am able to do my best and practice every day even more than competition is because I want to somehow show everyone a good performance, and I want to show something better every time. It makes me want to get better and perform in a way that makes people feel impressed, and I’m really happy that people have that kind of expectation for me and that they support me in that way. -The second part is filled with prayers, and the other day there was a big earthquake in Taiwan. I believe that 13 years ago, when this city was suffering, Taiwan was a great source of strength. I wondered if the thoughts you put into Part 2 could reach Taiwan and provide a little boost. Mr. Hanyu, what kind of thoughts did you put into it? -Hanyu: First of all, when I saw the news about Taiwan, it really hurt my heart. I’m sure there are many people who were affected by the disaster and are still suffering. I don’t know what to say to those people. However, as I am doing this and performing in this special place, this may just be selfish thinking, or self-satisfied, but I hope that even just a little prayer could reach them. In addition, various disasters such as the Great East Japan Earthquake and the Noto earthquake, have occurred or are occurring both in Japan and around the world, in fact, even in places like New York, there are days when I feel a little scared. I skated with the hope that it would cleanse the Earth of some kind of distortion of whatever you call it, even a little bit. --The day after tomorrow, this ICE STORY “RE_PRAY” will come to an end. How would you like it to end? Hanyu: I will skate with all my heart and soul again. It’s a very special performance for me because it’s in my hometown, and I think this “RE_PRAY” is also different for those who have come to experience it while getting a feel for my hometown. Including all circumstances, I would like to do my best to turn everything into strength, so that everyone can watch “RE_PRAY” that is unique to this Sendai performance. --For today’s performance, I think in the first part, “The Messenger of Ruin” got the audience excited because of no mistakes, but even in “RE_PRAY”, it feels like it’s one of the few times you made no mistakes in that part. Hanyu: It was probably the best performance so far. I think I was able to land all the jumps with almost no flaws anywhere. To be honest, I feel glad that I worked hard now. --I think you said, “Because it’s Miyagi, you want to show better performance”. In that respect, what does the success of “Messenger of Ruin” means to you? Hanyu: After all, in the first part of the story, the characters in the story feel pain and suffering that they can’t fight back against. And following that scenario, I was just swallowed up by the pain. In a sense, it’s my experience of the earthquake, or something like that, where you really can’t do anything about it on your own. As I look back on it now, I think that this story was born from my own experiences. That’s why I not only wanted to express my strong desire to fight against that pain in my hometown, but also to stand up to it and overcome that wall. It is precisely because of that the prayer theme in the second part was possible, I felt like the prayers would reach me too. Really, I put my all into it, and I think I was able to perform it. --There was talk that this additional performance was decided on short notice, but was it Mr. Hanyu’s underlying desire to allow everyone to see him at his peak as a professional athlete in his hometown? Could you please tell us more? Hanyu: I’m still not quite at my peak. However, as a professional, while exploring and creating a new form of skating called “ICE STORY”, I had a strong desire to skate in my hometown. Well, I’ve heard that people from all over the world actually came, and this time we even had people coming from Taiwan. The fact that people from all over the world came to my hometown, I felt like I couldn’t be happier if my show was the reason for that, so I really wanted to do it in Sendai and Miyagi. --The whole show was so amazing that I don’t even know how to describe it, but after seeing something this amazing, I couldn’t help but wonder what would Mr. Hanyu’s next professional ambitions be. Hanyu: “Hey, what are you going to do?” (laughs). I’m at a loss too. However, as long as everyone has expectations for me, I want to study harder, work harder, and show something good, and I believe that I am still in the process of evolving. So, I will continue to work hard, turn various experiences into strength, and also turn your support into strength as I move forward. --What were the things you were conscious of, or find important specifically because it was in your hometown Miyagi? Hanyu: This may be a bit dark, but in Part 2 there is a program called “Requiem for Heaven and Earth”. The music was written and performed by a composer named Yasunobu Matsuo as a requiem for the earthquake disaster. I wonder what it really means to be able to perform that song at this venue. Hmm, there are so many different feelings that I can’t quite express in words. However, I hope that my prayers would reach both in the heavens and on the earth. In fact, 13 years have passed since then, and some people may think it’s inevitable and have moved forward, and I have actually met them and heard their stories. But, after all, I know that there are also people still living with various conflicts, feeling inconvenienced with what they went through. Today I skated, while thinking that I would like to offer prayers in whatever way I can for all the various people. --What about returning to competition? Hanyu: (sounds like a cover-up) Not really (laughs). To be honest, yes, I’ve been practicing far more than I did for the Olympics. Looking back now, I feel like I could have practiced more for the Olympics. But I think it’s because of this solo performance that I’m able to work hard and practice like this, and I think I’m working hard because I want to become even stronger. I can proudly say that I am definitely better than ever. --There is still the final performance on the 9th (note: the interview took place on the 7th), but Mr. Hanyu himself has talked about new influences and areas where you felt you have grown, things you have discovered, and what you have learned from the programs. Is there anything that left the most impression on you? Hanyu: Well, um... the first program of Part 1 and the first program of Part 2, “Itsuka Owaru Yume”, are almost the same in structure and choreography. And the songs are the same, just the arrangement is slightly different. The costumes have changed and the lighting has changed, so I also skated with a different feeling. But after watching the first part, when you watched the same program again, I was thinking, “I wonder how everyone will feel. I’m sure it will feel different”, so I chose this composition because I wanted to convey that feeling, or rather, I wanted people to feel in that way. In that sense, the meaning of this program, apart from the feelings I want to convey, I also realised it is important to consider how others may feel depending on their backgrounds and experiences. Through “RE_PRAY”, I’ve come to cherish this aspect as part of its evolution. --Thank you very much. Hanyu: Thank you very much. (warm applause from reporters) Link to comment Share on other sites More sharing options...
yuzurujenn Posted May 12, 2024 Author Share Posted May 12, 2024 2024.05.01 Source: https://www.gqjapan.jp/article/20240508-yuzuru-hanyu-cover-story Archived: https://web.archive.org/web/20240512083133/https://www.gqjapan.jp/article/20240508-yuzuru-hanyu-cover-story GQ Japan x Yuzuru Hanyu (JUNE 2024 ISSUE) Yuzuru Hanyu’s Challenge After winning two consecutive Olympic gold medals, Yuzuru Hanyu, who turned professional in 2022, is taking on a new form of expression: an ice show that the produced entirely on his own. The extraordinary figure skater danced in front of the cameras, dressed in items designed by Gucci’s new creative director, Sabato de Sarno. Photographs by Taro Mizutani Styled by Tetsuro Nagase Hair styled by TAKU VOW-VOW FOR CUTTERS Makeup by COCO SEKIKAWA OFFICE Words by Kosuke Kawakami Reveal hidden contents The unique path that Yuzuru Hanyu walks After entering the studio and exchanging a few words with photographer Taro Mizutani, Yuzuru Hanyu operated his smartphone as if convinced of something. A gentle piano piece played from the speakers. It was ‘aqua’, a piece composed for his daughter by Ryuichi Sakamoto, who passed away last year. Moving his body flexibly, as if surrendering to the music, the studio had transformed into a beautiful, dignified and tense space that no one could step into. “When I saw the lighting directly above me, I thought it looked like the sun, like light from heaven. Mr. Mizutani also said, ‘I want you to look up. I want you to look up and think about something’. I thought it feels like a prayer, so I chose ‘aqua’ because it fits the image". As a figure skater, he was won all sorts of accolades, including two consecutive Olympic titles, two World Championships, and four consecutive Grand Prix Final titles. He has also received the People’s Honor Award. In 2022, he became a professional skater in order to ‘pursue the ideal of Yuzuru Hanyu’. Since then, he has held numerous self-produced ice shows and solo performances at Tokyo Dome, Saitama Super Arena, and other venues. “Even though I turned professional, I don’t think my fundamentals have changed. The world I’ve always wanted to express, the artistic nature of figure skating and the athletic aspect of it has not changed. During competitions, there are always rules and there are times when I had to perform in a certain way. But in the world of shows, I have to satisfy the audience in 360-degree, I have to use my brain to create the videos that will be played at the venue and I have to think about the words that I want to convey. I am expanding and deepening my thoughts to areas that I have not considered before.” Just as a musician plays music and an artist uses a paintbrush, Hanyu uses his body to express himself. “What’s fun about it is that when everyone watches it, I get to see a lot of different opinions, people think about it in different ways and each person interprets it in their own way. What I'm doing, I believe that what I am creating is a ‘path’. The values, background, past, future, and so on become the path, and along the way, one may notice something or feel something. I want the audience to see it and share it. I’m really happy when people say that they enjoyed the journey and are glad that they walked the path. That makes me happy and that’s why I feel like I can continue on this path”. When asked if he thinks it’s more fun now that he can express and create freely than in the competitive days when he was bound by rules and forced to compete, Hanyu thought for a while and then denied it. “I don’t think it’s good enough just to feel fun. Ever since my competitive days, I’ve always believed that competitions aren’t about having fun, and I’ve never wavered from that philosophy of mine. There are some people who say you can only perform well if you enjoy it, and I understand why people think that’s the right answer. But for me, if I have fun, I feel like I’m not being serious enough. There is a certain kind of performance that comes out because of the tension, and that is what allows me to train hard every day. Even in the creative field, when it comes to creating something, it is not good just to have fun. Of course, it’s possible because there’s also fun in it, and I’m able to create because someone sees it and enjoys it, which brings me joy and happiness. But if I continue to only feel fun, I may end up with just empty words and a false worldview with no depth. Hanyu says that he feels he lacks ‘vocabulary’ as an artist. “Vocabulary is also necessary for physical expression. If I want to show a scene just by moving my hands a little, I need to know the techniques to do so. I have to learn how to move my hands in such a way that it looks beautiful, and engrave it in my body. Let my nerves learn it, let my brain study it, and eventually I will be able to do it. It’s not like I can dance like a professional dancer or ballerina, but I’ve been figure skating for more than 20 years. Because of this, I have the potential to create new expressions by learning their techniques. I believe that if I study hard and able to do it on the ice, I will become a unique presence”. There is no goal, no rivals to compete with. Yet, without hesitation, he continues on his own path. “Being on the ice is like my ‘native language’ (laughs), so if I move away from it, I am no longer Yuzuru Hanyu. The knowledge, experience and soul I’ve cultivated since I was four years old are there, a place where I can express myself from the bottom of my heart. Of course, I’ll probably start to decline as I age, but if I continue to use the language of figure skating for another 30 years, there may be a form of expression that can only be created at that particular time and age. I believe there is such a possibility, and I think I must continue to strive for that possibility”. Yuzuru Hanyu, as the one and only Yuzuru Hanyu, continues to move forward focusing on expression on the ice. Link to comment Share on other sites More sharing options...
yuzurujenn Posted May 13, 2024 Author Share Posted May 13, 2024 2024.05.11 Source: https://weibo.com/1746783312/OdMLMnmye Info: https://x.com/AxelQuadruple/status/1785923918215446592 Quardruple Axel May 2024 Issue: Exclusive interview with Yuzuru Hanyu March 11th. When I walked into the hotel room in Sendai City, Yuzuru Hanyu greeted me with a gentle expression. The ice performance "Yuzuru Hanyu Notte Stellata 2024" held in the disaster-stricken area from March 8th to 10th, which he himself served as the chairman, has just ended. He should have been exhausted, but he didn't look like that. He just glanced at the tote bag in the reporter's hand and said, "That's a (souvenir) from the National Middle School Skating Competition, right? I miss it~", That was all it took to thoughtfully lighten the mood at the scene. He was interviewed by us for about an hour including filming time. Reveal hidden contents ——Thank you very much for taking time out of your busy schedule to be interviewed today! Hanyu: Thank you! Are you nervous? In fact, there is no need to be nervous at all. I haven't changed at all (from past to present)! ——Thanks. Then, I'm counting on you. Hanyu: Please take care of me. ——It has been two and a half years since Yuzuru Hanyu started working as a professional skater. You have deeply thought and pursued both performance and figure skating itself, and you have even tried to work as an overall performance choreographer. In the process, you seemed to have increased the level of difficulty. Specifically, it means mental, technical, and physical endurance. In previous ice shows, besides the opening and finale, skaters mostly performed one program in the first half and another in the second half, a total of two programs. Under such circumstances, Yuzuru Hanyu had to complete an ice show alone. I think it is quite difficult for one person to perform nearly 10 programs. First of all, I would like to ask you to tell me why you decided to do a "solo performance" when you turned professional. Hanyu: At "Yuzuru Hanyu notte stellata 2024" I skated three programs. In fact, just skating these three programs made me exhausted (laughs). As for me, even now, I have always treated figure skating as a sport. When it comes to why I chose solo skating over this, the first reason is that when I changed from competitive skater to professional skater, the voices from those who "still want to see Yuzuru Hanyu's figure skating" gave me a strong impact. Well, if that was the case, I started thinking, "For those who want to watch me skate, can I create an environment where they can watch me skate all the time?" This was the initial idea. And hence "Prologue" was born. At the time of "Prologue", the MC session was very long, and the number of programs was obviously less than now. It wasn't easy physically at the time, but compared to now, I was able to skate through the whole show with plenty of room to spare. Through "Prologue", I also captured the feeling of "being able to perform continuously by myself." Of course, I don’t think I’ve fully presented myself yet. In fact, it cannot be said that all the programs were performed perfectly. In the previous "RE_PRAY" ice show, I was not able to perform all the programs perfectly. I thought that it would be really difficult to complete the entire performance alone, and it would definitely be physically demanding, but while I practiced for the solo ice performance, I gradually grasped the idea that "I can definitely do it alone." ——From the first "Prologue" to "GIFT" and "RE_PRAY", I feel that you are challenging more difficult programs every time you perform. Not just the physical strength, the fact that you can't just cancel a solo ice show because you're not feeling well, under such heavy pressure, your performances continue to exceed the audience's expectations. Isn't the daily practice quite a burden? Hanyu: Maybe this is something that should be taken for granted after becoming a professional skater, but to be honest, the training I have accumulated now is incomparable to what I was able to do when I was a competitive skater. Looking back on the competitive days, it was enough to practice up to three programs (short program, free skate and performance skate) in a season. Because the number of programs is limited, it can improve concentration during practice. However, since I became a professional skater, if I hold a solo ice show, I would have to skate more than 10 programs. For a program to be comparable to traditional free skating, even without footwork and rotation, practicing seven jumps is undoubtedly necessary. In addition, if you want to skate many programs, not just jumping, you must also perform corresponding exercises for different programs. On this basis, is it enough to just complete a certain amount of practice? Not really. Although as long as the amount is accumulated enough, the endurance will indeed keep up. However, these alone cannot maintain and improve physical fitness. Figure skating requires instantaneous movements. In order to consistently perform at my best, in addition to increasing the amount of physical training, training to improve my conditioning and fitness is also essential. Therefore, the current training can be said to be extremely hard (laughs). ——During the "RE_PRAY" performance in Yokohama on February 19th, you mentioned "about 6 hours of physical training a day." The amount of training is quite huge, right? Hanyu: Yes, at that time, I felt quite upset because I was not able to perform well in the Saga performances. Since then, I have been studying better training methods and have been fighting with myself for more than a month. (Editor's note: As a result of hard training, in the final performance on February 19th, which was open to the media, "The Messenger of Destruction", which was as difficult as a free skate, was completed for the first time without any mistakes.) After that, I immediately had to prepare for "notte stellata". Since there were three performances to be performed, it is necessary to practice accordingly. Especially this time, there are two new songs. Although the new program was arranged by someone in December last year, it was not possible to practice well (because he had to adjust for "RE_PRAY"). So, the first thing to do is to recollect the choreographic movements. Of these two new programs, the choreography for the second half of "Carmina Burana" started after the Yokohama performance of "RE_PRAY", but then it was decided to have additional stop for “RE_PRAY", so I have to keep practice for that too. In this sense, although it is very hard, I am always thinking about how to continue to evolve during the process. For example, I mentioned about "learning" before. I can refer to the training methods and skills honed by top players in other competitive sports, or I can refer to paid course videos and study relevant papers. Although most of the contents are in English media, I can still learn and absorb various knowledge from them, and at the same time think about whether I can apply it to my own training, and thus formulate a training plan that suits my own situation. ——Performing more than a dozen programs in two and a half hours by yourself is something you have never experienced in the competitive era. In competitions, you just need to focus on the short program or free skate each day to bring your form to its peak. Now, in solo ice performances, the method of giving full attention to all programs must be carried out throughout the show. During the two-and-a-half-hour performance, in order to achieve the best condition in each program and repeatedly exert concentration and explosive power, has your "internal clock" changed compared to the competitive days? Hanyu: Ah, right? (laughs) This is an interesting question. I don't have the impression of "just doing a long-distance race (a two-and-a-half-hour solo performance)" in my mind. Yeah, maybe it’s like the different feelings that a marathon and Ekiden (long-distance relay race) give to people. A marathon is run by one runner. During the 42.195km, there are ups and downs, and there are also times when the wind is going against the direction. We need to explore a strategy that can reasonably distribute the rhythm. In contrast, in Ekiden, multiple runners complete their respective sections, and all members relay the baton till the finish line. Among them, there are runners who are good at running long distances, and there are also runners who excel at running short distances at a fast pace. In this process, everyone devotes their effort to the parts that they are responsible for, and everyone's efforts are brought together as a team to complete the run. Although my performances are like a marathon, I run alone all the time, but in fact, each program is like an Ekiden interval. Therefore, there are longer programs like free skating and shorter programs. Moreover, I always work hard to be able to perform all the repertoire at my best. So even though I ran the entire distance like a marathon, in fact, each part has its own Yuzuru Hanyu who is responsible for it. Each Yuzuru Hanyu is trying his best to skate each program. Only when they come together that a complete "solo performance" can be achieved. I imagine it would be similar to the feeling of running Ekiden alone. Because of this, each show’s approach to skating, the techniques used, and the pace are completely different. I had to practice them all one by one. In a formal performance, as long as the music starts playing, no matter how deprived of oxygen the body is and how hard it is, it must be completed. This is because it is not just about me, but the staff around me are also working hard to create with great care and dedication. So I have to persist in completing it. Although there were times when I couldn’t help shouting “I’m so exhausted” or “I really want to go back” (laughs). To get back to the subject, I did not deliberately distribute (or preserve) the rhythm (physically), but trained in order to continue to exert my full strength for different programs. —— Hanyu-san seems to be able to squeeze out his endurance from the limit, even when you feel physical pain and when you keep pushing yourself. Do you have the power to push the limits? Hanyu: The support from the audience makes me very happy. I think there must be an invisible force, just like what everyone calls super energy in critical situations. However, I know firsthand that even this power has its limits. In my opinion, when the limiter is turned off, it is possible to awaken the extra 20% potential. However, since my competitive days, I have always been skating in a way that utilizes the extra 20% from the beginning. In this way, the remaining power has already been exhausted, if the energy is exhausted midway, the body will feel like it is stagnant. So it is important to recover when you're taking off your skates and changing clothes between programs, but it is actually very difficult to do that. The process of untying and re-tying skate laces also requires a lot of grip. In fact, the way you tie your skates can affect your condition and even bring the risk of injury, so concentration cannot be interrupted in this stage. Under such circumstances, my brain is still running at full speed, thinking about "Now, how can this body recover as soon as possible?" and "How to adjust the body's state and rhythm before performing the next program?". I was trying my best to overcome these difficulties. If there is nothing you can do physically, you can only rely on mental power to make your body move. In this way, rehearsals become crucial. For "RE_PRAY", there is a free skate program ("Messenger of Destruction") at the end of the first half, but during rehearsals, I will skate "Messenger of Destruction" twice in a row after skating all other programs in the first half. Or sometimes I skate "Messenger of Destruction" three times in a row and then do the whole rehearsal. There are also cases where the original 30-minute break between the first and second half is reduced to 15 minutes and then the skating resumes immediately. Sometimes, after skating the Rondo step sequences three times, I will perform some additional performances. A formal show is definitely more physically demanding than a rehearsal, so I have to persevere until the end no matter what. In terms of research, I review scientific studies on the energy efficiency of muscles, the oxygen absorption of cells, and the oxygen transport of red blood cells, and train on this basis. ——Sounds like an impressive training session. In addition, in terms of performance content, after changing careers, you performed many jumping elements and programs that went beyond the rules of the game and broke the rules framework. Looking back at the competitive era, have you ever struggled with performances bound by rules? Hanyu: I myself use the word "rules" in "RE_PRAY", but if you think about my experience in competitive sports, there is no doubt that I was bound by something like scoring. For example, in a certain melody, "Rather than jumping, I would like to do something that fits better for the performance", or "Although I actually want to perform like this, but in order to score, I can only do jumping here", psychological dilemma similar to this have indeed existed before. In this way, "If I want to complete this jump, I must ensure such a long skating assist", which means that I must have a corresponding distance. Or, to be honest, in order to get points, while thinking about matching the notes of the song, I have to think about "This step must be performed" or "This rotation must be included in the combination" situation. When considering the program, you’re always bound by the score. Of course, arranging programs with the goal of obtaining scores is actually the fun of the competition. However, after I won the 2018 PyeongChang Olympics, I began to feel that it was a bit lonely to think about making programs just for scoring. GOE has been adjusted, and I gradually feel that there is a ceiling-like existence in PCS. During that time, I had to think, "Well, what should I do to get points?" However, no matter how much effort I put into performance, and no matter how deeply I thought about the music, I was still unable to improve the PCS. It could be said that it had reached a point where nothing could be done. In this way, I could only improve the basic score of jumping, because I have to work hard to master new techniques (having to reduce the practice time in other aspects) and it is impossible to pay attention to and study in depth in all aspects. The most difficult part of figure skating is how to coordinate jumping and performance. On top of this, because of the constraints of scores, to be honest, I have repeatedly hit the wall for this. ——About "RE_PRAY" just now. After turning into a professional skater, the constraints of scoring disappeared. But on the other hand, the disappearance of scoring can also be said to have remove evaluation-related restrictions in a sense. The price of obtaining "free expression" is the loss of " judgment standards". Do you also have to face such a difficulty? Hanyu: Thank you very much for your thoughtful interpretation of "RE_PRAY". To be honest, I was so happy that I couldn’t help but chuckle. After all, without scores, the so-called results, we cannot determine the right answer and the wrong answer. I am deeply aware of this difficulty. However, as a performer, it seems to me that the process of trying to find the right answer is actually similar to philosophy. "RE_PRAY" slightly uses the Trolley Dilemma as a theme, but the answer to this question cannot be deduced by anyone. It can only be considered by each person as a pragmatism (practical, pragmatic concept) and find the answer that is suitable for them, the so-called correct answer. So I think this is similar to philosophy. In my mind, "I want to express it this way", "I want to add sounds for this kind of expression, and I want to convey this kind of world" are the correct answers. But for other people, they may feel that "It's not like that." When this remains in the world one day in the future, some people may think, "So this is how Hanyu Yuzuru (his performance, the world) feels." There may also be people who are deeply shocked. When I think about this, although it is difficult (performing without evaluation standards), maybe it is just out of the feelings of the athlete, but I still feel that pursuing it is meaningful. This is because I sincerely feel that if we always keep thinking and learning and deepening, we will definitely have the joy of continuous evolution. In fact, we can’t just talk about “fun” and “enjoyment”, after all, this is a job full of hardship. However, I feel that there must be correct answers and ways of thinking that I cannot discover on my own. ——How did the game-based concept for "RE_PRAY" come about? Hanyu: Speaking of "RE_PRAY", when I was thinking about my future plans for skating, I thought that I had finally laid the foundation of "GIFT", the ICE STORY, at the Tokyo Dome, so I wilfully told the staff (lead by MIKIKO, the chief editor) "I want to continue ICE STORY", and that's where the creation started. I have been worrying about how to make ICE STORY 2nd, and I kept thinking "What is the most interesting part if it is presented as figure skating?" In terms of expression techniques, I thought, would it be more fresh and more interesting if I could start with things that I have the most contact with and that no one else has personally experienced? After thinking about it this way, I thought that I could use games and the like as the basis for the ice performance. ——The effects projected on the screen, the YES or NO option and the date of archive selection would change in each show, which has also become a topic of conversation among fans and everyone has made various comments and interpretations about them. Is there any special purpose behind it? Hanyu: For these aspects, we just want to maximize the point of "creating stories as professionals". For figure skating, every moment of performance can become a work in itself. In addition, the reaction of the audience and the atmosphere at the event also create a sense of "live" at a certain moment. Therefore, as professionals, we are producing this ice show with the aim of striving for excellence to the end. ——In the video of "RE_PRAY", there is a scene where Yuzuru Hanyu uses a game controller to control the characters on the screen. That game character is also Yuzuru Hanyu. This design in which you control the game character Yuzuru Hanyu and move forward by choosing between YES and NO can also be said to be a unique worldview of yourself from an objective perspective. Hanyu also made many choices during his competitive days, such as deciding to go to Toronto, deciding to challenge 4A, and deciding to become a professional skater. When you are making these decisions, do you feel as if you are controlling the game character Yuzuru Hanyu? Hanyu: That’s great, if you explain it this way. Thank you. Indeed, I also feel that I am the kind of person who is better at looking at things objectively. Whether in the process of skating or in the process of being interviewed like this, I seem to always be able to view myself objectively and observe myself from an overhead perspective, or I can say that I have good self-control. This personality may have penetrated unconsciously (during the creation of "RE_PRAY"). In fact, I also think that my own life experience has been injected into "RE_PRAY". When I talk to you like this, I will also say "very interesting" and "not bad". When I organize the language, I do use unique wording in many places. Even so, I still feel that the expansion of the range of thinking and the richness of the set of options are very important. The story of "RE_PRAY" can be interpreted in various ways. In a sense, for the fans who have fought along with me, this is "Yuzuru Hanyu's story", but for viewers who are watching it for the first time, they may just watch it as an ICE STORY, right? For media people who conduct interviews and reports, they may think, "Because Yuzuru Hanyu used such language, that's probably what he thought?" Various programs also exist on the basis of many different interpretations. Integrating these into a complete work is what ICE STORY wants to pursue. Therefore, there is nothing happier for me than being able to take questions from people like you who understand this ice show. ——Having talked about this, I can also understand that for you, whether you are training and practicing as an athlete, or participating in the overall performance choreography, you need to consider themes and concepts, including polishing the details, all of which have a great impact on the body, brain, and spirit. All levels will bring a huge burden. Despite this, I can't help but look forward to Hanyu Yuzuru moving towards higher goals. When you held a press conference on turning professional in July 2022, you once said frankly, "The existence of Yuzuru Hanyu has always been a heavy burden for me." This sentence impressed me deeply. Has the burden that this existence placed on you changed since you became a professional skater? Hanyu: (Laughs) It’s still very heavy. As expected, the fact that it feels like a heavy burden has not changed since the competitive days. For me, the fear of "Whether I can meet everyone's expectations?" and the uneasiness of "Whether what I am doing is actually responding to everyone's expectations?”, I have never stopped thinking like this to this day. But in my opinion, when such thoughts disappear and I no longer regard these as a burden, it probably means that I have reached my limit. I can still see the ideal image that can live up to everyone's expectations, and I want to make it my goal. In other words, in my opinion, my potential (moving his hand upwards) can probably reach this level. Because of this, I feel uneasy or have the feeling "This is the best I can do”. I may live up to everyone’s expectations only to this extent. It is very difficult to continue to evolve and finally realize your ideal, but I accept the state of mind of constant pursuit of this as the driving force. ——How do you spend every day keeping in mind the distance between you and your ideal? Hanyu: To be honest, I do feel that I have always insisted on pursuing my ideal goal. But specifically speaking, the distance (to the ideal) is not a definite interval. Sometimes it is closer and sometimes it becomes further. It seems to me that this kind of thing happens all the time. At this point, this is true regardless in professional or competitive era. For example, the "SEIMEI" I skated at the 2015 NHK Cup (which set a world record at the time) was almost close to the ideal, and I scored 322 points (total with the short program score). Regarding this, I thought, "It's close to the ideal, what should I do next?” In a sense, I have reached a state where I can be satisfied. At that time, facing the upcoming GPF, I kept thinking, "Can I score more than 320 points in the next competition?" and "What should I pursue next?" However, at the same time, my physical condition became not good, and I have a bit of a cold and at this time my ideal is far away from me again. But in the end, I scored 330 points in the GPF (Editor's note: Both the short and free broke the world record at the time, and scored an otherworldly 330.43 points, achieving three consecutive GPF championship titles). It can be said that I have fully realized my ideal, but that time I was completely burned out, and it was difficult for my body (state) to recover and my feet started to hurt. In this way, I have to put the ideal back in its place… It is precisely because of that during the seasons around 2019 and 2020, although I had the ideal I had been chasing, there were times when I felt that another ideal was good and changed direction. I think the situation of being closer and further away from my ideal, or simply starting to pursue other ideals, has not changed even now. ——In the press interview after the "RE_PRAY" Yokohama, you said that you were “completely blank” when talking about future ideas. In fact, what are your next plans? Hanyu: At the moment I really don't have any idea about the future. In fact, it is through this that I realize once again that I am in a creative field. Precisely because I have nothing, I have to create it, and it is precisely because I have to create, even though I will surely encounter difficulties, I still find pleasure and enjoy it. When it comes to what I am pursuing now, roughly speaking, I think it is "good work”. Although I can't be specific yet, what is the "good work" that I am pursuing? I think it should be something that I create from ‘nothing’, which is probably what everyone expects. However, I do benefit from the support of people around me, as in the case of "RE_PRAY", there are a lot of people who are really working on it. In this sense, I have had a lot of difficulties in the process of creation, whether it is the extensive training I have conducted in order to present a better performance, or the many difficulties I experienced during the actual performance, but I feel that the ice show created by the "Professional Group" is indeed the highest-level work. At the same time, I always adhere to the sense of responsibility that "I must perform at my peak" while creating ICE STORY. ——Thank you very much for taking up your precious time for an interview today! Hanyu: You are so kind. I should be the one to say thank you! [Postscript to the interview] Wearing a black sportswear, Hanyu welcomed me into the hotel room. Within the allocated one hour, Hanyu spent 40 minutes carefully answering my questions one by one. Occasionally, there were times where he responded to my questions and said, "That's good," or "I'm happy you asked." The power of Hanyu’s words, the passionate tone of his voice when talking, and the words he weaves which are completely different from Hanyu on ice, are also full of charm. At the end of the interview, we asked him to write down his future resolutions on colour paper. "Um…what should I write?" Yuzuru Hanyu looked at the paper with a serious expression and fell into silence for a long time. After a while, "I can say what I want to say, but what about writing it in words?" He said this while writing the words "Change the world!" When I asked him about the meaning of "world" here, he replied, "I want to change not only the field that I am currently fighting in, but also the world itself in everyone's eyes”, reveals such a grand theme to us. During the filming process, he kept changing his poses at the photographer's request. While chatting with us from time to time, he has a smile on his face, but as long as he faces the camera, he can put on the required expression in a split second. This made us realize the strengths of Hanyu-san as an expressive person, who has been in the spotlight of the camera tens of thousands of times. While waiting for the camera to be set, I asked him: "In your competitive days, you once said, "What I like most is when there is a barrier in front of me." Now that you are a professional skater, do you still like to encounter barriers?" Hanyu listened, compared himself to an "ant" and gave this answer. “In the competitive era, there were scores and results, so when I looked back, I would find that the walls were right there in front of me. Now it seems more like I have to find the walls on my own. It’s because I think, "I want to be more like this. "Or "I want to become stronger”, so I have to build a wall for myself, and then overcome this wall. For example, there is a huge staircase here, and I am a tiny ant. After all, stairs are just stairs, not walls. However, if I think “I want to move to another level”, like an ant, I have to perceive the stairs as a wall and climb over it myself. I look for obstacles and climb over them in order to evolve, but what I want to say has not changed (I like it when there is a wall to overcome). The interview was conducted on March 11th. It ended just after 14:30. When we put away the filming equipment and moved the tables and chairs back to their original positions, the same 14:46 as on "that day" arrived. Hanyu looked at the sea through the window and silently prayed. Although he himself was a victim of the disaster, he did his best in the ice show held to deliver the "light of hope" to the disaster-stricken areas. The back view of Yuzuru Hanyu at this time is that of an ordinary 29-year-old young man without the armour of the "Absolute Champion". For a while, Yuzuru Hanyu remained facing the window. After, you can see him raising his hand to wipe the corners of his eyes from time to time. Link to comment Share on other sites More sharing options...
yuzurujenn Posted May 13, 2024 Author Share Posted May 13, 2024 2024.05.11 Source: Quadruple Axel 2024 #羽生結弦 SPECIAL pg 76-81 Info: https://x.com/AxelQuadruple/status/1790024157121351998 (Alternative translation by Pep on: https://x.com/pep_on_/status/1789229656295780385) Quardruple Axel May 2024 Issue: MIKIKO – A Solitary Realm MIKIKO is a choreographer who is active worldwide in the entertainment field. Through "GIFT" and "RE_PRAY", she has created ice shows that completely overturn the conventional wisdom of figure skating. What does Yuzuru Hanyu look like to MIKIKO? We asked her about the backstage production and a number of precious anecdotes - Interview and text by Tatsuya Murao Reveal hidden contents -MIKIKO, your first collaboration with Hanyu was during his debut ice show “Prologue” after he turned professional. I understand that you were in charge of directing for the programs "Haru yo koi" and "Itsuka Owaru Yume". MIKIKO: Yes, that’s right. I was mainly responsible for the ice projection, including the visual and performance effects. -At that time, how did you draw inspiration from the programs for the projection effects? MIKIKO: "Haru yo koi" was already a well-known program, so when creating it, I aimed to preserve its established impression while also hoping to generate a synergistic effect. As for "Itsuka Owaru Yume", since it was a new program being revealed for the first time at “Prologue,” I first asked him about the background of the piece he chose and his mindset while performing it. Hanyu sent me a long text and also shared videos of himself skating on the ice rink. I tried to break it down to understand it, and then thought about various things such as "What kind of image is suitable?" and "What kind of appearance is more appropriate?". -What was the process of creating the visuals like? MIKIKO: Usually in the live shows that I direct, images are often projected onto the background of the stage. It’s rare that I have the luxury to direct a performance where the entire venue could be used as a canvas such as in an ice show, so I was very happy about it. Being able to project images onto the huge, pure white ice surface was sure to guarantee a dynamic production, so I was very excited during the process. -I had the pleasure to watch Perfume's "Perfume LIVE 2021 "polygon wave"" produced by MIKIKO-sensei before. The venue at that time happened to be PIA Arena MM, and just like this time, the venue was used extensively for projection. MIKIKO: Yes. It was still during the COVID-19 pandemic, at a time when admission restrictions were finally relaxed, allowing live performances with up to 50% of the maximum capacity. We took advantage of this condition by not allowing the audience into the Arena (the inner part) and only setting up seating in the stands, which we thought would meet the 50% occupancy requirement. This allowed the entire inner venue to become the stage, and we set up LED Vision on the floor of the inner venue to create an effect similar to that on the ice surface. I hadn’t imagined collaborating with Hanyu at that point. I learned a lot from the Perfume performance, which eventually led to directing on an ice surface of the same shape. From a sequential task perspective, it was quite ideal for me. -The skills developed in the live world have been effectively applied in directing ice shows. MIKIKO: Yes, but ultimately, they are completely different genres. When producing “Prologue,” it was already decided that I would direct “GIFT,” which involved directing a performance at Tokyo Dome. When we first started communicating, we thought about trying to make two programs first, which was what happened during the session at "Prologue". So, if I have to say, "Prologue" was like a trial run. Because ice show is an unknown world to me, we had to experiment a lot with "GIFT", but there is also strength that comes with being in uncharted territory. Perhaps from the perspective of figure skating, it may seem like something unconventional, but from our point of view, only figure skating can achieve dynamic movements at such a fast speed. In a normal live show, there would never be a situation where one person performs endlessly on such a vast stage. So, for me, this kind of cooperation brings a lot of new possibilities. Furthermore, thanks to the miracle of his technical prowess and expression filling up the entire space of the venue, we somehow managed to overcome various challenges. However, after watching the official performance of "GIFT", I once again realised how amazing Hanyu-kun is, and at the same time I also thought, "Ah, the direction could be better." -MIKIKO, have you made any new discoveries or ideas through the official performance? MIKIKO: Although I had experienced filling up the entire dome like this in the past, no one was sure what synergy would be produced in the official performance. But in the end, the actual outcome was even more amazing than imagined. I think part of it was due to the emotional investment of the ice fans, and another part was that Hanyu’s emotional and mental investment in the performance was richer than I had anticipated. So, I realized, “Since we could achieve this level, the directing could be even better,” which sparked ideas like “This can be done, and that can be done.” I think this is also connected to “RE_PRAY.” -Specifically, what kind of ideas emerged? MIKIKO: "GIFT" was a showcase of Hanyu’s figure skating career to date, presented in an anthology format, weaving stories in between intervals to demonstrate that "the same person has a variety of colours”. As for "RE_PRAY", rather than that, I want everyone to have "the feeling of watching a movie or a stage play", so I incorporated game elements throughout the story and meticulously filmed the visuals performed by him. The story aspect of this can be seen as what I learned the most from “GIFT” and also where I made further refinements. -When the overview of “RE_PRAY” was announced, the use of game themes was quite surprising. It was hard to imagine what kind of ice performance it would be. I couldn’t help but wonder, “What kind of performance will it be?” MIKIKO, what were your thoughts when you first heard Hanyu’s concept for “RE_PRAY”? MIKIKO: Through various exchanges, we had a rough understanding of each other’s preferences. So, from the conceptual stage of “RE_PRAY,” we continuously brainstormed and bounced ideas around, starting with “What should we do next?” I am not familiar with games at all. For example, when he talked about "Itsuka Owaru Yume", he would explain it in terms of games, saying, "This is a Final Fantasy song, and it has this kind of ocean water feel, and it's like this..." In addition, as we talked about various things, he would always use game analogies or talk about game music at key points. Through this process, I felt that games had a huge influence on his way of thinking and his life. Gradually, I started to think, “Maybe a game-themed concept could be interesting.” However, precisely because games are a very important presence in his life, it was more challenging to direct this concept. It seemed like a simple idea at first glance, but it required careful handling. Therefore, I thought that directing this theme would need to be approached with caution. It's catchy, so all the more to be careful. But then we decided, “Let's be brave and make a game out of it!” And that's how it all started. -So, the concept was born from the discussions between the two of you. Regarding the actual “RE_PRAY” ice show, the overall structure of the first and second halves is not just a straightforward presentation of the programs; instead, it incorporates various contrasts and echoes, giving the impression of meticulous and detailed production. It’s something that can’t be fully grasped in just one viewing, much like watching a movie or reading a novel. MIKIKO: Yes, exactly. -The projections on the ice, the visuals on the screens, the monologues, the music selection, and the choreography all seem to carry profound meanings, but it’s difficult to pinpoint the exact answers. Or perhaps there are no right answers. How did you and Hanyu come together to create the overall concept? MIKIKO: While you can restart a game as many times as you want, life only happens once and cannot be replayed. On the path of life, there are various crossroads. Choosing one path (to the right) leads to one world, while choosing the other path (to the left) leads to another world. Decisions are constantly being made, whether “yes” or “no.” The interesting aspect of games is that you can see both outcomes through resets, but in real life, even if you think “what if” or “maybe there could be such opportunities,” you cannot walk both paths simultaneously and must make a choice. From my perspective, Hanyu has been making ultimate choices throughout his 29 years of life. Each time he makes a choice, whether it was the right one is judged entirely by himself. He lives in such a world. Games can be reset and played again, providing opportunities for redemption, but one's life is a path that cannot be retraced. I think he might want to affirm such an existence. For the audience, he hopes that they can project themselves into the same situation, conveying the idea that “what everyone feels here today is also a YES.” Therefore, even if there are audience members who watch all the performances, the experience of the same program might vary depending on specific days, moments, physical states, or events that occurred before coming to the venue. I think this in itself is remarkable. Hanyu, who exists in a world where “even performing the same program never feels the same,” probably wants to convey this affirmation to everyone. -Hanyu himself said, "I hope it will give everyone an opportunity to think about something." MIKIKO: So, even though both the first and second halves start with the same program, “Itsuka Owaru Yume,” different viewing angles reveal contrasts, such as appearing blue in the first half and pink in the second half. I wasn't sure if it would work, and I thought, "I think it's going to be difficult," but in the end, I think it worked very well. Also, even though both halves use “play”, the first part is 'play' with an 'L' and the second part is 'pray' with an 'R' (note: there is no L sound in Japanese so both word sare written the same in Japanese "プレー"). Accordingly, the skating style of the first and second half has also been adjusted. The intent was to show that "even the same person's performance can be so different". There is also an emotional aspect related to “not being able to save progress in the game and having to start from the beginning.” “Even if you start from the beginning, the scenery changes dramatically if you choose a different path” is the feeling we aimed to portray. -The "L" and "R" of "プレー" you just mentioned. Who designed this way of wording? MIKIKO: Although the name plays on “replay” with the added meaning of “pray” in “プレー (pray),” I think Hanyu-kun originally had the term “RE_PRAY” in mind. So, during brainstorming, the idea of “the concept for the first half using ‘L’ for ‘play’ also seems good” came up midway. -That's really interesting. How was the overall structure decided? MIKIKO: First, Hanyu decided on the setlist (order of songs), and then he wrote down the corresponding storylines. After that, he wrote the actual monologue scripts to be used in “RE_PRAY,” and based on this, I created the production plan. Sometimes I would suggest, "I think it would be good if such a scene happened here," and he would agree, "That sounds good. Let's do it that way," and we had these conversations quite often. Then I came up with the idea of "Hanyu-kun holding the game controller on the right, with the game screen on the left," and Hanyu-kun continued to think about the narration that would correspond to that scene. Within the process, we also wrote ideas like "It would be interesting to swap ‘R’ and ‘L’." -The “R” and “L” also have a contrasting meaning of right and left. MIKIKO: Exactly. So, in the second half, Hanyu’s position was also reversed left and right. There are a lot of things like that. While this was just a small pleasure for the creators, such wordplay was added during the process, and we often discussed whether “it would be better to end in this way.” The entire production was completed through this back-and-forth process. -I was surprised to see how well-detailed the visuals were, and the setting where Hanyu controls the game world himself—was this also your idea, MIKIKO? MIKIKO: After I got the general concept from Hanyu-kun, I thought, "Let's start with this kind of image here”. For example, a scene like "Hanyu-kun enters an 8-bit game world and fights in costumes from his past performances”. After that, we talked to the producer in charge of the video, appointed a director, and decided on a creator. This is roughly how the process went. -I also truly felt the power and excellence that comes from bringing together top professionals. This time, there was also a program choreographed by you, MIKIKO, for the first time. Is this your first time choreographing for a figure skating program? MIKIKO: Yes, it is my first time choreographing an entire program. Previously, for Hanyu's performances of DA PUMP's "if..." and Mika Nakashima's "GLAMOROUS SKY" at "Fantasy on Ice," the choreography was done by him, and I just gave some suggestions for modifications. For example, I gave some advice from a dance perspective, "Here, it would be better if the hand direction is this way." In the process, I also took the opportunity to learn some figure skating techniques. This time, however, I choreographed an original piece using a song by Shiina Ringo. -Did Hanyu ask you to help choreograph a program? MIKIKO: Yes. We also decided on the song selection together. This was the second program in the first half. When everyone was discussing "Can we arrange any good music here that will make people immersed in it?", he proposed "I want to add some music that is different from what I usually listen to", so I sent him a collection of songs that I thought would be suitable. Among them, he chose Shiina Ringo's "Chicken, Snake and Pig". -Choreographing for figure skating must be different from choreographing for dance on the floor, right? MIKIKO: I definitely felt that it was very challenging. It’s similar to how some parts of "GIFT" were done based on a lack of knowledge about ice shows, and I approached it with a similar lack of understanding about figure skating choreography. I would think about the upper body movements as I would for regular dance. On the other hand, for the footwork, I could only suggest things like "I think you should move back and forth a few steps, then a few steps forward." I could only convey the image like this. So, it’s not so much me doing the choreography alone, but more of a collaboration. Even though it was difficult, it felt like "full of possibilities" because there are things that cannot be done in floor dance. -What you can’t do on land but can do on ice is to move while skating, right? MIKIKO: Yeah. -Do characteristics of figure skating have a positive effect in showing dance? MIKIKO: Ah, I think this is a very difficult thing. After all, the feet have to keep gliding on the ice. In particular, the dance movements I designed are movements where the feet are like buckles (fixed) while coordinating with the upper body. If the foot movements are not consistent, it will be very difficult to move the upper body. So, I think he really practiced a lot for this program. -The transfer of the choreography on land to the ice must have been done by Hanyu himself, right? MIKIKO: Yes. The footwork was entirely finalized on the ice. Initially, I choreographed the dance for the entire song, and after rehearsing with the mirrors, he memorised the movements and then tried them on the ice. Later, adjustments were made at the Sendai rink, such as "If we do this move here, it won't work," or "Let’s remove this part of the dance and focus on the footwork." -This program seems to be based on the image of a straight line? MIKIKO: Yes, before choreographing, we already had the image of "moving forward on a single path, against the wind." So, I thought of using lighting and lasers to create a path on the ice, designing movements that made it look like not wanting to leave this path. It was choreographed with many intentional constraints. -In figure skating, where movements are typically curved, maintaining a straight path must indeed be very difficult? MIKIKO: That's true. So, the fact that he manages to skate without being hit by the laser light is already quite impressive. Though, again, I’m not very knowledgeable about these details, so I’m just guessing (laughs). -It seems that Hanyu’s technical skills were crucial in achieving such a performance. MIKIKO: I really think so. -As a choreographer for dancers and artists, how do you perceive Hanyu’s performance as a performer? MIKIKO: His dedication to performance, daily lifestyle, and the preparation he undertakes to perform in front of an audience are things that I think everyone should learn from. If I were to evaluate, I would say, "I’m very grateful for him showing us that kind of attitude." I have been working with BABYMETAL since they were in the fifth grade, and with Perfume for 25 years now. Although sometimes I feel sad that so much time has passed, but because they have always worked tirelessly, I genuinely hope they can create something that touches people’s hearts, which is why I haven’t given up over these 25 years. And among this, someone like Hanyu, who has numerous fans and has won gold medals, still feels that he is "far from perfect" in the art of expression and continues to pursue it relentlessly. When I learned that he had put in such a huge effort, I really sighed, "It really is so." To me, achieving a performance that genuinely touches people’s hearts and standing in front of others can only be done through such a life-or-death effort. -Hearing such sentiments from someone like you, MIKIKO, really makes me think how remarkable Hanyu is. MIKIKO: I think he probably won't lose to anyone at this point. Although it may be a bit strange to say that he "won't lose to anyone", he really worked hard to the point where people would think that (not losing to anyone) is "natural". -In the solo show, he performs more than 10 programs by himself. He hardly ever takes a break, even while the video is playing between performances. MIKIKO: Yes, after all, he still has to change costumes. -During the ice show, will you see Hanyu backstage? MIKIKO: I was sitting on the audience side, observing the overall effect in the venue, so I didn’t see the backstage. -How did you feel while watching the show? MIKIKO: As I mentioned earlier, I only watched figure skating as an ordinary viewer, so I’m completely unfamiliar with the details of the competition. As for the performance, "Messenger of Ruin", it included many high-difficulty jumps and spins—so much so that it could even be directly entered into a competition, right? I watched that program every time and gradually began to understand the timing and difficulties of the jumps, so during the official performance, I felt like, "Ah, please!" If I were his mother, I would probably be too anxious to watch, thinking "I want to go outside..." I’d be scared to that extent. There’s this kind of drama in just two and a half minutes, and even if he made a mistake in a jump, he’d have to continue skating without losing heart. The more I know, the more afraid I become. But at the same time, I could see that the fans were moved by this, and I think I also understand what it means to fight alongside him. -In the program "Messenger of Ruin", what he challenged himself was to skate an already difficult skating composition without making any mistakes. Even after becoming a professional, he must continuously evolve, which is probably also the driving force behind Hanyu's progress. MIKIKO: He didn’t say he was retiring, but used the term “turning pro” I think he practices and embodies this in his daily life. -Figure skating is a sport, but the artistic component is also significant. Has your view of the sport changed through your interactions with Hanyu? MIKIKO: I sometimes thought that the dilemma he felt when he was a competitor was reflected here. The world of expression is influenced by individual preferences, and there is no so-called standard answer. Because of this, it is a world of both joy and pain. While scores can simplify things in competitions, they can also bring about significant pain. In the absence of a clear answer to the question "What is the standard?", it would be more fitting for him, who has been relentlessly pursuing his own expression, to go to a world where there is no answer. Even though we live in a world without scores, technique is still essential before performance. In other words, it should be performed by people who already possess technical skills. So, what he does is not fundamentally different from what we do. First of all, having skill is a given; in my view, it is only those whose expressiveness is so strong that people forget to admire their "skill" who are truly remarkable. In this sense, Hanyu jumps so easily and lightly, and expresses them so easily, that viewers don’t understand how difficult it is. So, we keep asking him for more and more (laughs). But I think this is a requirement for someone who reaches the "professional" world. -What you said is very meaningful. MIKIKO: You first need to have technique, and then think about how to express music and emotions. I think that’s the way it should be. -I feel that his solo performances have really transcended the traditional boundaries of figure skating. What Hanyu aims to achieve can no longer be summarised with just "skate". MIKIKO: I think that's indeed the case. What will he create next? -I am looking forward to him surpassing everyone’s expectations once again. Changing the topic, the ice show "Yuzuru Hanyu Notte Stellata 2024" was held in Miyagi Prefecture a few days ago. MIKIKO: I was also there to watch it. -Hanyu skated the solo program "Danny Boy". This song was recommended to him when he appeared on Gen Hoshino's TV show. It turns out that Hanyu was also greatly influenced by Hoshino. MIKIKO: That's right. -He also performed "Koi Dance" at an exhibition, and I was reminded once again that there was a connection with MIKIKO there as well. MIKIKO: At that time, Hanyu-kun was dancing "Koi Dance" with his friends in a sort of lounge area, and the video spread on Twitter. After I found out, I silently posted something like " Yuzuru-sama also did the Koi Dance..." (laughs). He told me, "I already knew this." and said, "I thought at that time: 'It's been conveyed!'" (laughs). -Hearing these stories from then to now is truly moving. How did you feel after watching "Notte Stellata"? MIKIKO: Both "Danny Boy" and "Carmina Burana", which he collaborated with Mao Daichi, were choreographed by figure skating choreographers. When I look at them objectively, I reaffirmed their excellence. Then, what surprised me was to see how much his body had changed after the Yokohama performance from the Saga performance of RE_PRAY. -He himself said that the Saga performance was physically tough. MIKIKO: During this period of more than a month, I think he himself had a strong desire for revenge. There was a feeling of "I will change!" Wasn’t he also working on choreography for “notte stellata” at the same time? And he had to further polish his new programs. Under these conditions, there were significant changes in his skating style and strength, making me feel "Wow, he’s still evolving", and in a sense, it was also "terrifying". -Probably the tension of facing the ever-evolving Hanyu. MIKIKO: After watching the actual performance, the video creator of the ice show had a sparkling look on his face. It was obvious that the staff working with him felt it was rewarding, and I think that's because Hanyu-kun gives so much back to us in the actual performance. This is truly a give-and-take relationship; motivating the staff and making them feel the value of their contributions is essential for the performer. Because of this, we feel that "we must create excellent works." Through his performance and attitude, he has built a very positive relationship. -I often hear the same sentiments from the staff involved in the shows. MIKIKO: That's true. Watching him practice, it instantly makes you want to get serious and not be half-hearted. It’s hard to express, but you definitely can’t slack off. If everyone doesn’t perform at a high standard, there will definitely be something that feels out of place. -It’s precisely this attention to detail that makes the ice show so high-quality. MIKIKO: I really think so. -Thank you for sharing so many valuable insights. Lastly, do you have any expectations or hopes for Hanyu's future achievements? MIKIKO: As I have said in various interviews, as someone who has been in the entertainment industry, having seen and created many things, I want to believe that “there are things that Japan can be proud of”. When I saw the actual performance of "GIFT", I felt that this potential was further expanded. It felt like witnessing "the moment a new door open" to an unprecedented world of entertainment, where figure skating is combined with visuals, lighting, and music, creating a tremendous synergy. So, I hope more people can appreciate his ice shows and that those who need to see it will have the chance to enjoy it. While making Hanyu-kun’s fans happy is a primary goal, I also hope to move those who aren’t normally interested in such performances, so that people from other fields in the world can also be touched. He is truly doing something very difficult. Both physically and mentally. In order not to crush his potential, we also want to work tirelessly. It would be great if we could try our best to do something to support him. Although it is a bit exaggerated to say this, I hope it will benefit Japan and the world. Link to comment Share on other sites More sharing options...
yuzurujenn Posted May 16, 2024 Author Share Posted May 16, 2024 2024.05.11 Source: Quadruple Axel 2024 #羽生結弦 SPECIAL pg 82-87 Info: https://x.com/AxelQuadruple/status/1790025373582860575 (Alternative translation by Pep on: https://x.com/pep_on_/status/1789844726998245654) Quardruple Axel May 2024 Issue: Shinya Kiyozuka – A One-of-a-Kind Performer Shinya Kiyozuka, who performed the exhibition number "Haru yo, Koi" and the competition program "Introduction and Rondo Capriccioso," is a close friend of Hanyu's. He was involved in the performance and arrangement of the music used in "RE_PRAY". From the perspective of a musician active in a wide range of fields, we asked him to talk about Hanyu's greatness as an expressive artist - Interview and text by Tatsuya Murao Reveal hidden contents Q: Kiyozuka participated in this Ice Story "RE_PRAY" by playing piano and arranging music. I heard that three songs were newly recorded, but how did you get the request? A: It was because Hanyu-san said, "I'm going to do this kind of show (so I'd like you to do it)." By the time he contacted me, he already had a blueprint in mind, or rather, a plan of "I want to do something like this", and he gave me a fairly specific request to create an arrangement like this, so I went ahead with it. Q: "Introduction and Rondo Capriccioso" was re-performed in a longer version, right? A: Yes, that's right. I thought it would be weird to just combine the previous part (with the new recording). I could have just extended it, but it was Hanyu's performance, and I wanted to reflect what I was thinking and feeling, and how I feel about him, so I went ahead and re-recorded it all. Q: It must have taken quite a long time to re-perform and record it, didn't it? A: We were indeed pressed for time, so we had to complete everything quickly and precisely within the limited timeframe. Since we started collaborating on "Haru yo, koi," (in Fantasy on Ice 2018) I’ve become very attuned to Hanyu’s thoughts and understand more clearly what he wants to convey during our conversations. Additionally, as good friends, our professional collaboration has become more enduring, and our mutual understanding has deepened. It's similar to making a movie, but often, when we try to describe the shows or music we want to create in words, it falls short. Conversely... Q: You get pulled in by the words. A: Exactly. It gradually deviates. When people try to describe something that doesn’t exist yet and can’t be described, this back-and-forth struggle can have the opposite effect—the more you try to explain, the more likely you are to produce something incorrect. Language is inherently judgmental and inadequate for expressing things that don’t exist. In the end, it’s about understanding what the other person actually wants to say and considering what lies behind their words. This is very important. In this regard, it’s about fate and how well two people can understand each other, which is crucial. After all, we’ve been through many stages together since "Haru yo, Koi" and have produced numerous programs together. Communication is key; although meeting in person is very difficult, we often have long video calls late into the night. These interactions have enhanced our communication, made our interactions less constrained, and deepened our mutual understanding. He even described me as a “good friend”. So, this time, we didn’t spend any extra time on the work. When we worked on “Haru yo, Koi," we spent a lot of effort, but this time, we quickly completed the extended version of the Rondo. Q: This time too, Hanyu thought a lot about the overall concept. Did you find the concept itself easier to understand? A: Since what Hanyu wants to achieve is inherently very philosophical, it could be said that there are aspects that shouldn’t be completely understood. I think this is why what he does feels more like art than sports. Even though Hanyu-san may have a clear answer in his mind, he often says that “the reason why piano performances and classical music fit well with figure skating is that they ultimately don’t state things explicitly.” Q: It’s up to the viewers to judge. A: Yes. It's a very abstract and spontaneous expression, so I think the overall concept is like that. And I think Hanyu has that freedom of thinking, "It's fine if the audience takes it this way." Q: Considering that you imagined the overall concept yourself and had to adjust the new arrangements to fit in, it must have been difficult to think about various things, right? A: Yes, but Hanyu-san had pretty much solidified the overall concept from the beginning. Almost everything, or rather, all the plots for the performances that I eventually saw (in the show) were there from the beginning. For the other programs as well, Hanyu-san had a very clear idea of how my arrangements would fit in. Because he communicated this to me, I had no doubts about it. Also, with his transition to a professional career and everything, I think Hanyu's skill in conveying these concepts to others has greatly improved. Compared to when we worked on "Haru yo, koi" he has likely put a lot of thought into how to communicate with others, and, knowing him, he has worked incredibly hard to expand his vocabulary and improve his communication skills. Q: While arranging, were there any moments of hesitation like, "This part should be a bit..."? A: No. For the most part, I had an idea that it "should be done like this" so I just pushed forward towards that. "Messenger of Ruin" was a band arrangement, so I incorporated the sounds of other bands, played the bass on a synthesizer myself, and told the guitarist what kind of guitar playing I wanted him to do. With more parts compared to just using a piano, it took a bit more time in that regard. But, yes, we rented a top-class grand piano, a Yamaha CFX, used a top-class studio, and we called in top-class engineers, tuners, and musicians to record, so of course we could only record locally on that day and at that time. I also explained to Hanyu-san that we were approaching this as a "one-time-only" situation. So, it had to be finalized by that point. It was a gamble, but I believed that only top professionals could match the level required for Hanyu’s stage. I approached it with confidence, and in the end, he was very pleased with the final piece. Q: I think you must have enjoyed the once-in-a-lifetime experience, even though it was time-consuming and difficult. A: Yes, there is a thrill to it. Also, as for "Messenger of Ruin," it is based on the game "Final Fantasy." Nobuo Uematsu is a world-famous composer whom both Hanyu and I respect. Both Hanyu and I love the game "Final Fantasy." We both play it, and we debate what we think about it. That's how passionate we are about it, so even as a game fan, I don't want to just mess with the song as I please. After all, if someone messes with something you like, you’ll think, "What the heck?" So I don't want to change the song completely just because it's Hanyu's stage. After all, there has to be respect for the game and for Uematsu. On the other hand, the most difficult part of game music is that it is always looping (repeating). There is no “end” point, so you have to add new parts. Also, the length of the program that Hanyu-san had in mind had to be twice as long as the original “Messenger of Ruin”. Looping the same thing twice would have left the audience unsatisfied, so how do you develop it without destroying the worldview? And since it’s a performance, it has to build up towards the end. So, half of the music was reproduced with the band as it was in the original, and the other half was my own creation. So, I hope that Uematsu-san will be satisfied with that, and I hope that “Final Fantasy” fans will be satisfied with it too. I wanted to create something exciting that would suit this stage. It was very difficult to gather all of these elements. Q: What were your impressions after seeing the Yokohama performance? A: It's been a long time since I've had goosebumps. Also, after this was over, I told Hanyu-san directly that I was really worried he might collapse. From the initial planning stage, I was more worried about him than about my music, and when he said, "I'm thinking of doing something like this," I said, "You've got to be kidding me." "Can you really do that? A human being?" First of all, he's trying to do something difficult just by doing a one-man (solo show), and then after all those performances, this "Messenger of Ruin" comes. I was worried, like, "Isn't that just a dream?" or "Can one person do that with their physical strength?" So, when he managed to do it, I felt a sense of divinity, like I was witnessing a moment when a person really did something beyond human strength, and at the same time, I felt a sense of fear as a close friend, like, "Are you okay?" or "Has he collapsed backstage?" But in "Final Fantasy," there's a line that says, "Do you need a reason to help someone?" Hanyu-san quoted that line in response to me. I thought that was really cool. This time, the theme was "Pray = Prayer," and I think Hanyu’s own “prayer” from the depths of his soul was also reflected in the theme. It's not like the Passion of Christ, but I thought later that maybe there was a feeling that "I have to give this much of myself" within him. Q: Moreover, if it were a one-night show like "Gift," it might be okay to burn out, but since it was a tour, he couldn’t afford to burn out. A: Yes, that's true. I've always thought that the things he thinks are different from other people, but coming here has made me realise that he's different from other people in terms of what he can do and his physical potential. Q: He has also performed solo shows like "Prologue" and "Gift", and I think he’s constantly evolving. A: That's right. I also thought that Hanyu approaches each moment by embracing the limits of what can be achieved as part of his aesthetic. After all, even with Hanyu’s abilities, there may be physical limitations and various other issues that could affect what he can do 10 years from now. So, I think he is doing the best he can in the moment. Q: Hanyu has been running non-stop since he turned professional, so I feel like it’s okay not to be in such a hurry. A: I always mention that on video calls, but he always just laughs, like, "Hehehe." But, you know, the way he laughs, "Hehehe," makes me feel like the protagonist from a movie or game who knows they can never return. Maybe it's because he thinks it would sound trivial, but he doesn't really verbalize those kind of core matters in our conversations, intentionally. While he passionately talks about his thoughts on his performances, he tends to avoid putting concerns or heartfelt feelings into words. I’m not sure if he’s embarrassed or something else, but that aspect makes me want to support him even more. It’s quite cool. Q: Do you have any ideas for songs you would like to collaborate with Hanyu in the future? A: There are many, but for example, in classical music, Debussy's "Clair de Lune". I’d also like to try some more upbeat and rhythmic songs. Additionally, pieces like "Haru yo, Koi" and "Rondo Capriccioso," which have original versions but have been arranged to give them a new expression specifically for Hanyu-san. Through this process, I hope to create new interpretations of classic masterpieces as part of the repertoire that only Hanyu can bring to life. Also, this may be something Hanyu-san is thinking of doing next, but I would really like to do an original piece. A piece made just for Hanyu-san. Hanyu-san has strong philosophical and emotional sentiments, and he always has them clearly in his mind, so I would like him to perform with the idea that "I turned those into a song." Q: Kiyozuka imagines what Hanyu is thinking, and the two of you create a program together. A: Yes, that's right. It would be wonderful if we could gradually create something together and eventually produce an original piece. It's perfect, isn't it, for a figure skater like that to have a song. After all, only Yuzuru Hanyu, who has his own philosophy and story, can do it. Just having skill or popularity alone doesn't suffice. If you have a piece of music just for the sake of it, it becomes cheap. It would just be a gimmick or a marketing tool. But in his case, it makes sense. Q: Have you ever had such conversations with Hanyu? A: Just a little. It's been mentioned in our casual conversation as one of my dreams. Q: What did Hanyu say at that time? A: He was very serious and said, "Actually I would have liked to have talked about it myself." (※Up to this point, we conducted a joint interview. The following is from individual interview) Q: I believe your first encounter with Hanyu was in 2018 when you collaborated on Fantasy on Ice. What was the biggest shock to you at that time? A: I was really impressed that a figure skater could understand music so well and adapt to it so well. I don't remember how many times we did it in total, but during the tour, the performance time differed by about one minute between the fastest tempo and the slowest tempo. I was really shocked by how much he enjoyed and embraced such variation. Q: I think it's quite a big deal to change the length of a song by almost a minute, but did you have any meetings like, "Let's take it a little slower today"? Or was it just based on a mutual feeling? A: It wasn’t something discussed in advance. Sometimes it happened based on the atmosphere of the moment. Since I’m human too, even if I intend to play the same way every time, there might be slight variations in tempo, or I might become more passionate during the chorus and play more intensely, or vice versa. For example, if there’s a long note in the music meant to create a lingering effect, and I hold that note longer than usual, the length of that part extends. In response, the performance adjusts accordingly. That’s what’s remarkable. Specifically, at the end of ‘Haru yo, Koi,' the final 'Jaaan!' note expressed something like the scattering of petals, a sense of poignancy and transience, and I couldn't take my hands off the keyboard at the end. There was a lingering sound on the ice rink, and when I played the long 'Jaaan,' he added movement to that entire sound. We hadn’t discussed this in advance. Even in the demo performance, I didn’t play it that long. So I thought, 'That’s amazing.' It’s something a top-tier artist would do. It’s as if he thought, 'The other person is still playing. Great, let me add something here.' I think this is a musical skill. Even though the piece was over and applause had probably started, he kept adding subtle movements without stopping the performance. I was truly amazed by the level of musical sensitivity he had. Q: When Hanyu appeared as a guest on Kiyozuka's music show, he said, " I adjust to the performance, not the song" That's exactly what it means. A: That's exactly right. If you're performing according to the music, you'll probably end up with a pre-determined performance that says, "This is how it should end here." But in his case, he responds to what the performer is doing each time, which is a unique sense that he has. It's not something you can prepare for in advance, and I believe it requires a genuine skill to achieve. Q: In that program, he mentioned that in his competition program, "When I tried to match my spins to the music, the number of rotations was not enough." Is this a dilemma you feel from the perspective of placing importance on musical expression? A: Yes, there’s definitely a dilemma when the music and the performance don’t align perfectly. However, in competitions, there’s a component in the artistic program score called 'musical interpretation.' For example, during 'Roncapu' he scored incredibly high, and I think his understanding of the music was likely a factor in that. On the other hand, I wonder how musical interpretation is actually judged. Personally, I think it would be better to have a musician among the judges (laughs). Q: When Hanyu turned professional, he said, "I finally became a professional." It seemed like he had always wanted to do it as a pro, and maybe he had too much to express. A: Yes, I have mentioned this to him directly, but I felt that towards the latter half of his competitive career, he was feeling somewhat restricted. It felt like what he wanted to do was extending beyond the scope of competition. In competitions, you have to perform within the constraints of technique and time, and you have to score points. I felt that the dimension he wanted to explore was no longer fitting within that framework. Additionally, there is a growing focus on jumps in the sport. I’ve felt in recent years that this trend has become stronger in figure skating overall. However, I believe figure skating is not just about jumping. Q: That’s true. A: That's why I think it's amazing that Hanyu has turned professional and is now showing figure skating as a comprehensive art form. Q: I’m not sure if this analogy is entirely accurate, but in the world of classical music, musicians often compete in competitions aiming for top positions. Then, they go on to hold recitals as professionals and venture into new realms. I wonder if Hanyu’s transition to professional skating reflects something similar. He honed his skills in the competitive world and is now expanding into the realms of entertainment and art. A: Yes, I’ve had similar experiences myself, so I think this is something in common. But I believe that figure skating tends to bring about more significant changes in its world. I think we have the potential to continue in a similar vein. However, just because you win first place in a competition doesn’t necessarily mean you’ll become popular or that you’ll be able to do interesting things. The performance from a competition isn’t always suitable for a concert setting. For the first year or two, there’s value in hearing the 'first-place performance' from a competition. However, new winners will emerge, and you can’t keep doing the same thing forever. I believe there needs to be a philosophy of 'what you want to express as a musician' behind it. Many artists reach an impasse in this regard. Determining what you want to express as a musician is a very challenging issue, and there is a clear divide between those who have it and those who do not. In that respect, Hanyu-san seems to have almost too much philosophy. The competitive framework was just too small for him. As I mentioned earlier, when we were creating 'Roncapu,' I felt that constraint very strongly. In a short program of about 3 minutes, you can usually predict when the spins and jumps will occur. So, I planned arrangements based on the assumption of how the spins and jumps would fit. However, within those assumptions, Hanyu-san felt extremely constrained. I had a sense of this, and it seems he was aware that I was feeling that way (laughs). Recently, our conversations often touch on this topic, and it seems that Hanyu-san was in a similar mindset. It’s amazing how someone with such a unique perspective experiences their own particular struggles. It's as if the size (of what he thinks) doesn't fit anymore. Q: I’m sure Kiyozuka feels a great deal of sympathy for that too. A: Yes, I really feel that way. Moreover, for those people, what they value most is rather the conventional aspects of technique. Bando Tamasaburo often says, "Breaking the form (being unconventional) is different from having no form," and what he means is that you must not fall into "having no form." Only those who have a form can break it. That's why he says you have to hold on to the form. After all, the more someone wants to "do something new," the more they will come to realise the value of that "form." I think he values that aspect. Perhaps he values the basic method more than he did when he was still comnpeting. I feel that way when I watch "RE_PRAY" now. It’s not just about being free; it’s because he has something he wants to express that he has come to recognise the value of these things anew. Q: He has solid technique and skates as if he is one with the music, as if he were actually playing the music. Where does that kind of performance come from? A: It must involve an incredibly intense level of listening and focus. I think he is in a state where he can listen to the sound of the piece better than I can play it. Given his already exceptional concentration, I think he listens with such intense focus that it might even be exhausting for him. He’s not just passively listening; he’s analysing the music. This isn’t something that can be achieved without ability, but more importantly, it’s not something that can be done without passion. It really feels like he is devoting himself wholeheartedly. Q: When collaborating live, if he can fit the music so perfectly, I'm sure Kiyozuka also gets really into it and feels great while performing. A: Well, rather than feeling enjoyable, it’s more like a challenge. "I've listened to this far," he would say in a very stoic manner, which can also be taken as a way of saying, "How much soul did you put into this sound?" and "Does it match my performance?" Of course, he himself wouldn’t say such things. So, if I don’t have a similar level of commitment, I can’t match him as a counterpart. Q: Everyone who works with Hanyu says the same thing. A: That's because he doesn't just say it, he actually does it. It makes you think, "He's going to that extent..." It makes you question, "Am I a good match for him?" There are some aspects that make you nervous. Q: Is it hard to find someone like that? A: People like that are quite rare. Especially these days, when the emphasis is on working with a sense of balance and ease. In that regard, the classical world also has a very stoic side, so working with him is incredibly rewarding and stimulating for me. Q: I imagine there were many difficulties, such as the rules for collaborating at a live show, but how did you go about aligning those aspects? A: When it comes to collaborating, we examine what’s feasible and what’s not based on each other’s skills. However, we don’t always have unlimited time, and with performances coming one after another, his ability to pinpoint what needs to be discussed is exceptional. He’s incredibly sharp and highly knowledgeable about performing live. He quickly identifies the crucial points that need to be addressed. Once those points are determined, he stands firm and doesn’t compromise. That’s his style. Hanyu-san has specific goals he wants to achieve, and the challenging part is the work required to implement those goals as means. It’s not about bringing something particularly radical. It’s about expressing his musicality, goals, and philosophy. To convey that, there can be no compromise; it’s a fundamental principle for any performer. Hanyu-san reminds us of this principle time and again. Q: Thank you for sharing your valuable story. Lastly, please give some words of encouragement to Hanyu. A: Until now, I've supported "RE PRAY" but also worried about whether it's okay for him to do something like that, but Hanyu-san has made up his mind, and has dedicated himself to it to the point that I feel it would be rude to even worry about him. I also felt the strength of his belief that "this is all I have." And rather than worrying, I'm determined to "follow him wherever he goes," and I hope that I can continue to support him, encourage him, and sometimes even fight alongside him. Link to comment Share on other sites More sharing options...
yuzurujenn Posted May 19, 2024 Author Share Posted May 19, 2024 2024.05.11 Translation by Pep on: https://twitter.com/pep_on_/status/1792680124556693624 Source: Quadruple Axel 2024 #羽生結弦 SPECIAL pg 88-91 Quardruple Axel May 2024 Issue: Taketoshi Hara - A very personal look at "RE PRAY" A look at "RE_PRAY" from Mr. Hara's point of view. Mr. Taketoshi Hara is a costume designer and a close associate of Mr. Hanyu's. Mr. Hara has a background as a professional guitarist and has a deep knowledge of music and games. Reveal hidden contents -What did you think of "RE_PRAY" when you saw it? Hara: First of all, I thought it was matured as entertainment, and the level of perfection was extremely high. I also thought it was very interesting that the content was a metaphorical representation of video games. There are many different types of games, but this show focuses on the world of role-playing games, especially J-RPGs. I could see a great link between Mr. Hanyu's own childhood, his active career, and the process of RPGs up to the present day. In particular, the song "MEGALOVANIA" that Mr. Hanyu played in the show is from the game "Undertale," and I felt that this song was one of the hooks in the show. Undertale" is a game created almost single-handedly by charismatic game creator Toby Fox, and although it was released in 2015, it was influenced by Japanese RPGs of the 90s and 2000s, with a graphic style that looks very old-fashioned. It's a story-driven game that breaks the rules of traditional RPGs, and people who played it at the time were shocked. -What makes it unique? Hara: It contains elements that are the antithesis of existing RPGs, such as being able to complete the game without defeating anyone. Specifically, the game can be cleared without defeating anyone until the end, and it questions the very concept of the "hero" in RPGs. -How do you not defeat your enemies? Hara: The protagonist has the discretion to make peace through conversation or to let the enemy go. Because of this, the ending you reach by defeating everyone is different from the ending you reach by not defeating anyone. In other words, "Undertale" itself questions the concept of RPG itself, "advancing by defeating enemies." In the game, it is said that "even the monsters have feelings," and "what process does the boss of the enemy go through to become a boss?". It is interesting that you can choose to exterminate them, make peace through conversation, or let them go. -In "RE_PRAY" there is the line, "You decide for yourself." Hara: Yes, there was. I feel like there are a lot of similarities in that respect. -"Megalovania" is a song used in the game "Undertale," but how did it come about? Hara: Toby, the creator of "Undertale," is from the U.S. He is a Japanese RPG (JRPG) fanatic, and he was greatly influenced by "Final Fantasy," "Mother," and other titles from the 90s and 2000s. Toby was inspired by the game "Live Alive," which was released in the same year as "Final Fantasy" and "Mother. "Live Alive" is another legendary game that is still wildly popular today. This game also had some tricks that went against the common sense of JRPG at that time. In that sense. "Undertale" has many things in common with "Live Alive," and the song "Megalomania" is commonly played when defeating the bosses in this work. Mr. Topy created a song called "Megalovania" in homage to that "Megalomania. The titles are already linked, aren't they? -This is quite a core story. I was surprised to learn that the music is based on game music from 30 years ago. Hara: In the late 80s and early 90s, graphics were not as advanced as they are today, and music was expressed with a limited number of notes. For example, the NES had 3 chords and the Super NES had 16 chords. At that time, games did not yet have civil rights, and game music composers were not yet recognized as musicians. Even Koichi Sugiyama, the composer of "Dragon Quest," was even told by fellow musicians at the time, "If you go to a world where you can only create electronic sounds with such a small number of notes, you are finished as a musician. JRPG in its early days was filled with such a rebellious spirit and spirit of the voice. No matter how few notes there were, there was always something that could be done. In fact, it is precisely because the number of notes is so small and the sound is so delicate that it is necessary to create melodies that leave a greater impression than anyone else's. In this sense, JRPG is a true work of art as a composer. In this sense, the true value of a composer is put to the test. That's why there is something about this game that hasn't faded away. Nowadays, games themselves are produced with budgets comparable to Hollywood movies, and the quality of the music and visuals is on par with that of movies. I think this process is very much in sync with the path that Mr. Hanyu has taken. I also felt that the theme of the show itself was to express his life in a meta-metaphorical way, so I thought it was very much in line with that. -This is the spirit that Mr. Hanyu had when he was a competitor. Hara: He declared to himself at the age of four "I will win an Olympic gold medal in men's singles," and told those around him about it. He never gave up and continued to work hard towards that goal. He had the determination to "make it happen." Furthermore, when he said he would win two gold medals, I think there were probably voices saying, "You've already been a gold medalist once, so isn't that enough?" But he pushed forward, saying, "No, I'm going to do something that no one else has done before." I feel like those processes are in sync. That's right. In other words, "RE_PRAY" is not simply about the theme of games that Hanyu likes, but is also an encounter between an athlete and game creators who probably had similar backgrounds. -I see. So that's one way of looking at it. As for the structure of the show, the six-minute practice session for the competition was incorporated into the production. Hara: Yes, it is. I felt this was also well thought out. In games, there is often a situation where the player must escape within a specified time or the game is over. I felt that this image synchronizes with the six-minute practice time given before a performance in the competitive world. -Six minutes were counting down on the screen. Hara: The performance begins after the countdown, but without this stage setting and visuals, it's the same as practicing before the performance and then going on stage. However, replacing it with something completely different is a new expression. There is a platform on the side of the rink, the usual drinks are placed there, and there is Winnie the Pooh. Hanyu links in, quietly circles around, checks each element, drinks a drink, and in some cases blows his nose, all the same. However, in "RE_PRAY" it is replaced with a different stage setting. This makes it seem like "If it were in a game, there would be a situation like that." When I felt that, I really thought, "I see." -From there, it leads to "Envoy to Destruction." Hara: That's right. The "Envoy to Destruction" is a song from "Final Fantasy IX," and I thought that the most core part of the show was the transition from "Megalovania" to "Messenger of Doom. -It is the climax of the first part. Hara: The show was centered on the world of games, and the music selection for the program was also arranged with game music in the middle, sandwiched between other programs. In other words, I got the nuanced impression that as the show progressed, the audience would dive deeper into the two-dimensional world and then gradually return to the real world in the second half of the show. I got the impression that the game world and real life were in sync with each other. -It feels like a combination of many different elements. Hara: The reason why this show was special is because everyone knows the process of Hanyu's competitive days, his "adventure" as an athlete. That is absolutely unshakable, isn't it? After all, it is because of the magnitude of what he accomplished as a result of overcoming setbacks and suffering that it has become such a great show. Without that, I don't think he would have the durability to think so deeply. There are not many people in the world who have that kind of thing. The adventures of that time are reconstructed and can be interpreted in various ways, but it makes the recipient dig deeper and think, "I wonder if this is what he felt at that time." In other words, it feels like I'm being gently handed a strategy guide for the RPG called "Hanyu Yuzuru." -Certainly, there were strategy guides for games. Hara: This was especially true in the 90s and 2000s, but after a game was released, a thick, dictionary-like guidebook called "Kaitai Shinsho"(*) [Dissecting the Story] would be published, which contained everything about the game. It was a book that contained various information about the game, such as "how the story was set up" and "there are items that no one has yet discovered." Through this, you would later learn things you didn't know or the setting was like this. My personal impression is that while "RE_PRAY" itself is a work that uses the word "game" metaphorically, it feels like a "dissecting the story book," a guidebook, or an explanation of the process that Hanyu has walked as a skater, a man, and a person. Each line, each scene, each story, it was the ultimate entertainment, and I enjoyed it, but at the same time, I took it as a confirmation that "that was the mindset he had with which he overcame those Olympics and World Championships." (") Kaitai Shinsho/ is the name of a series of game strategy books edited by Famitsu, published by Kadokawa, and published by KADOKAWA. It's also the name of an anatomical book written in Japanese and published in 1774. Thus, a game strategy book can also be seen as a book to dissect the story of the game. -Mr. Hanyu's own "Kaitai Shinsho" (true book of dissecting the story). Hara: People who are deeply involved with games can really think about a lot of things in Ri's works. So I myself felt a sense of nostalgia. It made me remember once again what I have received from the entertainment of games. I have never felt this way when watching an ice show before. -Exactly what Mr. Hanyu said was that he wanted everyone to think through this show. He said that it was not necessary to give answers to the stories themselves. Hara: That's right. There are so many different ways to receive the game, so I think it is fine to enjoy the game as it is, as entertainment. I think it is fine if people just see it as "Mr. Hanyu liked games". I think that's what he thinks. -I was told that while there is a core game theme, the show is also designed to be enjoyed by those who are not familiar with the game. Hara: That's what I thought was amazing. I think it has a capacity for inclusion and durability. People who don't know about it can enjoy it in their own way, and I think everyone returns home saying, "I've seen something good." The reason why this is possible is because there are solid roots, and also because he himself has a tremendous depth of knowledge and feeling about games. The fact that he dares to narrow down the theme is, in a sense, a sign of his confidence. It means that we are confident that our content will have a great impact on certain people, and that people who are unfamiliar with the world of the game will leave satisfied. In order to make this happen, we have a team of top-notch professionals to manage the show, including the director, Mikiko. I don't think we could have done it if even one of those pieces were missing. The visuals are really beautiful and the show is well executed. The show is a great example of the kind of professionalism that is reflected in the various aspects of the show, so that no one is left behind. -Mr. Hanyu alone is in charge of this. It is an amazing feat, isn't it? Hara: It's amazing. Perhaps, in a sense, overseeing and advancing them one by one is a game for you, Mr. Hanyu. Before, "winning the competition" was a game for you, and you had to hone many skills and expressions and build up your body in order to win. Now, I think that "managing the ice show by yourself" is your game, and you are challenging yourself to practice at the rink in Sendai during the night, to build up one by one, and to make various decisions, I guess. -I think this commentary is possible only because of Mr. Hara. I didn't realize that you also have a deep knowledge of games. Hara: It's just a coincidence (laughs). But there may be a generational affinity. I myself have been influenced by games in my costume design and music activities, and that is no small thing. -Influences from games include storytelling, character design, and music. Hara: Games are really a comprehensive art form, and I was able to reconfirm once again that even in the 90's, they were a form of entertainment of the highest purity. Because the subject of games has been completely sublimated into a new type of entertainment that no one has ever seen before, such as "RE_PRAY," a new type of ice show. It is very interesting, and I think it is wonderful that she, MIKIKO, the director, and the people who organized the show were able to shine a light on it. Anyway, my first thought after seeing the performance was, "I have to see this many times!" I was very impressed by the performance and the people who organized the show, including Hanyu and MIKIKO. -There seems to be a lot of areas that we have yet to discover. Hara: There must be a lot of them. I personally thought of this show as a "Kaitai Shinsho" ("dissecting the story book") of Hanyu's process up to now, but to understand the show itself, I think you need a different strategy guide (laughs). -I am sure it will be a very thick book. By the way, have you ever talked about games with Mr. Hanyu? Hara: I once asked him a little about what kind of games he played in the early days of Fantasy on Ice. So I gave him a CD of game music that I liked. There was a CD that recorded "Final Fantasy" music with a live band performance, and I really liked it. It was no longer the era of CDs, so I gave it to him saying, "You might not listen to the CD, though." I remember talking about "Final Fantasy" at that time. The recent songs of "Final Fantasy" are quite intense, and there are many rock numbers. So I said, "This part is really cool, isn't it?" But I never had a deep conversation about "Undertale" or anything like that. -You were surprised when you actually saw "RE_PRAY". Hara: I was surprised. I had not expected that games had become so deeply embedded in Mr. Hanyu's creativity, expression and motivation, so I was surprised. And more than anything, it's a world I'm very familiar with. It really brought home to me that the way he delves into this kind of culture is what makes him so special, what makes him on another level. -When the contents of "RE_PRAY" were first made public, how did you honestly feel about the subject matter? Hara: Actually, this time, my team was in charge of the costumes for the pamphlet, so I had a rough idea of the concept at that time. Of course, I had no idea about the content, but I had heard at the time that the theme would be video games. So, I was thinking that we would use the world of video games to reconstruct Hanyu's experience in a meta-fictional way. But as for the content, I imagined something a little more casual, something that would depict Hanyu's childhood or his original experiences during his "Innocent" period. However, when I actually saw the show, I was surprised to find that the content went much deeper than I had expected. -You didn't expect to see "Megalovania"? Hara: I didn't expect to see a perfect mix of each era, from the pioneer days of video games to the more recent years. After all, it's not only the choice of "Megalovania" there, but also the fact that the song from "Biography of Estopolis" is used for the ending. "Biography of Estpolis" is also a legendary work, so I think it shows the depth of his roots in this area. -Mr. Hara himself seems to be a true "dissecting the story book". Hara: I don't know if it's okay to dig this deep, but he said, "Please interpret it however you like" (laughs). So, interpretation itself is free, and I think it's fine. It's an endgame, so there's no answer, but by having different people analyze it in different ways, I think it becomes more interesting as content and matures, so it's good to have different perspectives. So I would like people in the game industry to see it. I would like people to reevaluate how big an impact the world of games has. For example, achieving results in sports is often treated as something pure and righteous. On the other hand, there was talk of "game brain" a while ago, and in some cases, games are often said negatively, such as being bad for education. However, in fact, such things have had a positive effect on people at the top end of sports, which are considered to be pure and righteous. I think this is also evidence of that. So, I want people to reevaluate games themselves and know that they have a very positive effect. I think it was a show with enough power and impact to reevaluate the world in that way. On the other hand, I think that fans who are very knowledgeable about Hanyu will look at it in more detail and compare every move he made when he was an athlete, or see how a previous answer he gave in an interview led to that monologue. -That means the show can withstand that much research, right? Hara: Yes. That's the durability part. -It really makes me realize just how amazing Hanyu is. Hara: He thinks about it all by himself and doesn't take any breaks at all. I'm really in awe of the fact that he's been doing it for so long. -It is also amazing that he has been able to achieve three such shows in the one year since he switched to pro. Hara: It's a bit extraordinary, isn't it? In the meantime, he also appeared in various other ice shows. I wonder "Why can he work so hard?" but I also think that he is probably calculating how many more years he can continue to perform in a way that will convince his fans with his performance, and that he is trying to do everything he needs to do now. He is risking his life to realize as many of the things he envisions while he can, to have as many fans as possible see it, enjoy it, and have it engraved in their memories. I have been feeling this myself recently, but there is a limit to the amount of expression and content that one person can deliver to the world in their lifetime. So, "How much and what can I leave behind in the rest of my life?" is a battle with myself and a dialogue with myself. That's why I respect Hanyu as a fellow performer and challenger, and I support him. On top of that, if there is even one thing I can be involved in, I would like to cooperate with him with all my might. Of course, as a costume designer, I am one of the people involved in the project, but I am also a spectator who always enjoys the event. I would be more than happy if I could experience each and every action that Mr. Hanyu creates as a recipient. Link to comment Share on other sites More sharing options...
Recommended Posts
Create an account or sign in to comment
You need to be a member in order to leave a comment
Create an account
Sign up for a new account in our community. It's easy!
Register a new accountSign in
Already have an account? Sign in here.
Sign In Now