[2024] Echoes of Life - ICE STORY 3rd (Saitama)

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2024.12.30

 

Source: https://www.fantasymagazine.it/36803/yuzuru-yanyu-crea-un-mondo-postapocalittico-per-il-tour-echoes-of-life

Archived: https://web.archive.org/web/20241230130039/https://www.fantasymagazine.it/36803/yuzuru-hanyu-crea-un-mondo-postapocalittico-per-il-tour-echoes-of-life

 

Yuzuru Hanyu creates a post-apocalyptic world for the Echoes of Life tour

 

The second stop for Echoes of Life, Yuzuru Hanyu's sci-fi tour. One of the show's dates will be available for livestream viewing in Italy as well.

 

Spoiler

The setting is post-apocalyptic, with semi-destroyed buildings and a lifeless land, where a single figure moves: VHG-257 “Nova.” Portraying Nova, both on the big screen and on the ice during the Echoes of Life tour, is Yuzuru Hanyu.

 

When he announced in July 2022 his decision to retire from competition after winning everything there was to win, including two Olympic golds and two World Championships, and writing indelible pages in the history of figure skating, Hanyu stated that he wanted to change the perception of what it means to be a professional skater. He kept his word, with a journey over the past two and a half years that has seen him star in nine different shows, totaling 51 performances. What stands out in this journey are the solo shows, something that was unimaginable before him, and which may remain unique due to the inherent challenges of such performances.

 

There are technical challenges because Hanyu continues to perform some of the most difficult elements currently seen in competitions, making it clear that if he were still competing, he would have no trouble standing on any podium. There are athletic challenges because the intensity and duration of what he performs exceed those of any competition. There are interpretive challenges, as transitioning from one piece of music to another within minutes requires him to assume multiple roles or one role in different atmospheres, shifting his focus from the athletic to the acting realm. There are scenic challenges, with the artistic contributions of numerous professionals who, starting from his vision, collaborate with him to create a cohesive work. And there are narrative challenges, because what the audience witnesses is not a sequence of programs, but a single story, and this may be the most surprising aspect of all. Because after becoming famous as an athlete, Hanyu has discovered that he is also an artist.

 

In Prologue, in the fall of 2022, Hanyu narrated his competitive journey. With GIFT, in February 2023, he created the format of the Ice Story, presenting his story again but transforming it to make it universal. A year ago, RE_PRAY was another step forward in terms of narrative. The plot, connected to the world of video games, was developed through programs that the protagonist, a player in the show, performed to the music of Final Fantasy, Undertale, and Lufia II: Rise of the Sinistrals. Now, in Echoes of Life, the figure of Hanyu, still perceptible behind the player, completely disappears to make way for Nova, a creature on a journey of self-discovery, exploring the world it inhabits and the meaning of life. Among the music in a show narrated through the fusion of video and live performances, there are numerous tracks created for video games or fantasy-themed anime.

 

The Echoes of Life tour, which was launched in Saitama on December 7, the day of Hanyu's 30th birthday, will move to Hiroshima before concluding in February in Chiba. For the second date in Hiroshima, on January 5, 2025, an international livestream with subtitles in several languages, including English, Spanish, French, and Portuguese, has been announced on Beyond Live. You can find the link in the online resources.

 

[yuzurujenn]

  2024.12.07

 

Source: 

https://weibo.com/6473801248/P4gBakkFH

https://weibo.com/6473801248/P4m5t0zmH

https://weibo.com/6473801248/P5aCiDUf7

 

 

Echoes of Life Official Pamphlet - Yuzuru Hanyu Interview

 

Spoiler

Q: How did the theme and concept of "Echoes of Life" come about?
A: At first, I roughly thought of using philosophy as the theme. Later, when thinking about what kind of story to tell, I came up with around seven potential ideas in my mind. After filtering them, I ultimately settled on philosophy.

 

Q: After "GIFT" and "RE_PRAY," how did these experiences influence the theme and subject matter of this new project?
A: "GIFT" was a bit like an autobiography. Through my existence, it told the preciousness of dreams. Everyone has dreams, but they might have forgotten them, and working towards those dreams is the meaning of my existence, something along those lines. "RE_PRAY," on the other hand, was about challenging how to express something I particularly like and elevate it along with the theme I wanted to convey. When creating "ICE STORY 3rd," I felt that the game theme in "RE_PRAY" had a strong impact, so the attention to the theme and subject matter would be stronger. I thought that just having a story might not be enough. I considered whether I should use a book, a game, or a town as a medium. After thinking about various possibilities, I concluded that a novel format would be the best, with philosophical elements woven into it.

 

Q: This time, you can read the storybook before the performance.
A: This time, I decided to write it in the style of a novel, using literary style including punctuation and sentence structure, rather than my own conversational tone. Up until now, while I haven’t written in a poetic form, I have directly organized my personal feelings or the emotions of the characters into a story. But this time, I’ve added more situational details and descriptions to the story line. I hope that, by understanding these aspects, the audience can experience the images and performances at the same time. Of course, we’ve thought about how to make the audience feel something when watching the performance even if they don’t know the story. But if they know the story, they’ll be able to understand the details of "Nova" (the protagonist) and the world more deeply.

 

Also, I feel that reproducing exactly what I wrote might come across as cheap or too indulgent. While thinking about how to present it as a skating performance and create the visuals, I decided to leave the textual descriptions to the text itself. It might be better if the audience reads the storybook first.

 

Q: How did you write this story?
A: I wrote it by hand. I always write by hand, even for "GIFT" and "RE_PRAY." I scribble on loose-leaf paper or blank sheets. Although I don't record the material exactly as it is, I often accumulate the content I want to tell and quotes that have influenced me in the notes app on my phone, and then write based on that. Writing by hand feels like a more direct connection to the brain, and it's easier for the brain to give instructions. Also, when typing on a phone or computer, predictive text comes up, and I feel like my words stop being my own. I don’t want to be led by predictive text, so I prefer writing by hand. Then, as I read it in my mind, thinking "maybe I should delete this part," I type it little by little into the computer. This time, I actually already had a story written, but after deciding on the title 'Echoes of Life,' I started over and wrote a new story from scratch. From writing by hand to typing and editing, I stayed up for three nights straight to complete it.

 

Q: Writing the story in three days or staying up for three nights is pretty intense!
A: This time, I really wanted a cohesive story, so I thought, "If I don’t finish writing it now, the imagery of the story in my mind will collapse." Of course, it’s also because I had a deadline… If I didn’t submit it soon, it’ll be a problem! (laughs)

 

Q: What did you base your writing on?
A: For "GIFT," I was influenced by lyrics from songs I liked. In "RE_PRAY," I was more influenced by instrumental music and the dialogue from games than by lyrics. This time, I read about four philosophy books and five novels. I’m not really someone who excels at writing, and I thought I only know how to write in a conversational tone. The words that come from my heart are very close to how I speak, and I thought if I just wrote them directly as a novel, it would feel too rough. Writing in poetry allows for that kind of expression, but if I'm writing a prose, I need to first internalize the structure of an essay, so I read several novels that interested me. I'm not good at continuously reading text, so I listened to the book's narration while following along with the written words, jotting down parts that I thought, "Ah, I really like this." Of course, this time, I was also influenced by games and lyrics.

 

Q: What books did you read?
A: The books that influenced me the most this time were " The Trouble with Being Born " (by Emil Cioran) and "Underwater Philosophers" (by Rei Nagai). I combined the philosophy of life I learned in university with questions I’ve been pondering since young, like "What is life?" and "What am I?" Through this process, I realized that I needed to study more to fully grasp it, so I revisited philosophy more deeply and based the story on that knowledge.

 

Q: Are there new programs this time?
A: Yes, there are quite a few!

 

Q: That’s very exciting! Why did you decide to include so many new programs?
A: I just thought, "This song fits perfectly here," and chose the music accordingly. It ended up naturally turning out this way. When I worked on RE_PRAY, I arranged the songs the same way. But honestly, the theme of RE_PRAY was, in some ways, a bit bold. Since it was based on a game theme, it was very different from GIFT’s style, so if I had made it entirely based on my own interests, it might have alienated the audience that follows figure skating. So, although I had a lot of songs I wanted to use, I ultimately decided to focus on showcasing the game elements in the first half, and in the second half, I went with a more traditional style, integrating more figure skating-like programs. This ended up aligning with what I wanted to express, which was the duality of life. But this time, since it's a completely new story, I felt that using new programs was the best way to present it. Also, I seem to have become less concerned with overthinking things now. Or perhaps, because this time isn't just focused on my own interests, I thought, "This program works well" and "This song is nice too," so the song selection process went very smoothly.

 

Q: What is it like working with MIKIKO-sensei and the team to create ice shows?
Since 'RE_PRAY' was a tour, we made many adjustments and identified many areas that needed attention. I also felt there were many aspects that required further evolution. Because I’ve spent a lot of time involved with stage direction, I’ve become able to view my performance not only from an acting perspective, but also start thinking, 'Maybe this lighting would be better,' or 'It would be better to add this program after this scene,' and even when creating the story, I think, “It should be shown this way.” I’ve really started to approach things from a more overarching perspective.

 

Additionally, I feel that I’ve become more reliant on others. There are many more situations where I think, 'This is not my area of expertise, so I’ll let go and entrust my worldview and concept to everyone.' On the other hand, there are places where I absolutely cannot compromise, and this tug-of-war is also a troublesome dilemma, but I’ve started to be able to think deeply about it.

 

Q: The premiere of Echoes of Life is also your 30th birthday! Happy Birthday!
A: Thank you, but it's not actually my birthday yet (laughs).

 

Q: What are your thoughts on the premiere coinciding with your birthday, and turning 30?
A: Of course, I have many thoughts. First, since Echoes of Life is themed around life, birth, and growth, I feel like the overlap with my birthday gives it a fateful feeling. From that day onward, Echoes of Life begins, and I think this mirrors the beginning of my own life in some way. Plus, it starts on a birthday that’s a multiple of 5 or 10, which makes it feel even more like destiny. As for turning 30... well, it’s more like the shift from “almost 30” to “in my 30s” (laughs).

 

Q: It's exactly 30, huh?
A: Yeah, but I don’t feel like my body is deteriorating as I once imagined, and I can still skate so well! And even in this state, I am still needed by many people, and this once again makes me feel so touched, or rather, so happy. I feel that I must push myself and work hard!

 

Q: I only mentioned your turning 30 because it’s a nice round number, but honestly, I don’t feel your age. What I feel is that since the RE_PRAY tour, you’ve been strengthening your body again, and you seem even stronger now.
A: As I got older, my expressiveness deepens, which is something that can happen in any field. But my foundation, the most important part, is as an athlete. I’ve been figure skating for 25 years, and that part of me continues to evolve even at the age of 30. That makes me really happy, and I’m able to still have hope for myself, or rather, I feel anticipation for the future.

 

Q: By the way, do you remember anything from when you were 20?
A: Of course I do! It was during Barcelona Grand Prix Final. I was super restless on my 20th birthday, as if the world would change just because I turned 20. That’s how anxious I was (laughs).

 

Q: Did the world change?
A: Not at all (laughs). After that experience, I feel that even if it’s my 30th birthday, a year or a day will just pass by as a commemoration, and basically, nothing will change. But after all, I am an athlete, so I will definitely feel the changes in my body more and more. DNA will continue to be damaged anyway, so I think there will definitely be changes. However, I don’t think these changes will necessarily happen in multiples of five years. Change will come when it’s time, and the opportunity for change isn’t measured in time units like years. So, I’m relatively optimistic about this aspect. I don’t think, "My body will change at this moment." When I was 24, I really felt that my body had changed deeply, and I was troubled by the thought, "I’m getting old, and I can’t do it." But once I got past that point, I felt, "It’s still early!" "There are so many things I can do—why am I talking about being old?!" "It’s just things I haven’t done yet!" (laughs). I’ve learned a lot so far, and I’ll continue to learn in the future. As long as there’s room for continuous learning and improvement, even if I’m approaching 40—an age generally associated with a decline in physical strength—I think the gains from evolution will far outweigh the losses from decline.

 

Q: After hearing such inspiring words, I have one more question. Do you remember anything from your 10th birthday?
A: I went to Tampere when I was 10.

 

Q: Oh, that’s when you competed at the Santa Claus Cup in Tampere, Finland, right?
A: Yes, when I was 10, it was my first international competition. After winning that first international competition, I was on the plane home, listening to Bridge of Glory and crying... I was looking out the window, thinking, “Have I really made it this far?” And I just cried there (laughs). It’s funny, right? Don’t you think it’s funny? (laughs)

 

Q: That’s very cute (laughs), you must have been really emotional.
A: Yeah, I was really happy. It was 2004, the Athens Olympics were in the summer, so the theme song was Bridge of Glory (NHK’s official theme for the Athens Olympics). I listened to it on my MD player. Every time I hear that song, I remember being in that airplane cabin (laughs). That was when I was at my strongest.

 

Q: Now, 20 years later, what are your thoughts on Echoes of Life?
A: Right now, there are still many new programs that need choreography, and I need to focus on creating them. As the title Echoes of Life suggests, I want to pour my soul into every part of the creation process. Even though the tour means the program will constantly evolve, first and foremost, I want to create the perfect and best performance for the premiere. I will do my best!

 

 

 

Source: https://weibo.com/6473801248/P4ePVBkFG / https://weibo.com/6473801248/P7L0autwm

 

Echoes of Life Official Pamphlet - MIKIKO Interview

 

Spoiler

Q: How did you first encounter "Echoes of Life"?
A: After finishing RE_PRAY, we started discussing the theme for the new ICE STORY, and Hanyu-kun frequently mentioned “philosophy” and having “words to leave an impression.” When I heard this, I told him, "This really sounds like your style, and it seems like it will be really interesting!" I also said, "It feels like it will be different from past works, which is great." Later, I received a rough outline of the plot, and soon after, I got the full story.

 

Q: What was your impression after reading the story?
A: Since it was written in the form of a novel, it felt lighter to read. However, the detailed scenes and the depiction of emotions in the language were very much infused with the unique beauty of Japanese language nuances, so I thought, "This is really difficult!" (laughs) It was hard to translate it into a performance. Since I was imagining how to bring it to life on the ice while reading, from the perspective of how to express the story, it was really challenging.

 

Q: What specific parts did you find difficult to represent?
A: For example, the line “a slight cold sweat broke out in my stomach” is interesting to read, but then I had to think about how to turn that expression into an image or a performance. Additionally, like with RE_PRAY, each team member had different interpretations of the story after reading it. While this made it interesting, it also took a lot of time to harmonize. Just like with RE_PRAY, I think we’ll only understand after the official performance, “Ah, so this is what Hanyu-kun wanted to convey!”

 

Q: Was there anything special in your approach to the stage design?
A: Normally, I’m responsible for directing live concerts or choreography for each song. For example, when I choreograph, I want the composers and lyricists to feel that their work is being presented even better and shine even more. The same goes for directing. In Echoes of Life, the original creator himself is performing, so I think the most important thing is to understand his intentions as much as possible. However, I also have to look at the work as objectively as possible. So, I try to view it from multiple perspectives—Hanyu-kun’s perspective when he was writing, the audience’s perspective, the perspective of his most loyal fans, or even someone who doesn’t know anything about him. I incorporate all of these viewpoints into the stage design. During this process, I try to set aside my own subjective thoughts. Even though it may still end up with a “MIKIKO style,” I believe I completely stripped my own biases while creating it.

 

Q: Did you choreograph for Hanyu in Echoes of Life?
A: Yes, I choreographed a new program and also made adjustments to others. From RE_PRAY to Echoes of Life, Hanyu has done a lot of foundational dance training. I taught him all the training techniques that professional dancers go through. I think he’s probably been integrating those movements into his figure skating training day by day. So, when I choreographed for him this time, I felt like his body had almost found a new way of expressing itself. This physical transformation left a strong impression on me.

 

Q: What exactly was the change?
A: Last time, it felt like he was trying to somehow integrate dance into his figure skating body. But this time, it felt more like I was choreographing for a professional dancer. He’s always been great at mirroring movements, so before, he probably focused on memorizing the 'form' of the movements and then forcing his body, which felt awkward, into that 'form,' practicing it repeatedly. Now, however, it’s become more about understanding how to use the body and then adding the 'form' on top of that. This reverse approach, I think, makes it easier for him.

 

Q: What specific techniques did you teach, MIKIKO-sensei?
A: It was really basic, foundational training. Dancers will incorporate ballet techniques, so that was part of it, along with some stretching methods. Also, as a body meant to be appreciated in 360 degrees, there’s a training method where you place a plate on your palm and perform movements without letting the plate fall. Even if the front of the body can ensure the plate doesn’t fall, to prevent it from falling from the back, you need to keep the back flexible. This kind of training helps to create a more three-dimensional body. So-called dance movements are all connected; curves and circles need to be completed in one continuous motion. If a joint is stiff in any part, the movement becomes rigid. And we try to make all movements flow as curves. I also taught him exercises to relieve joint stiffness, so I feel that now his nerves can more effectively reach every corner of his body.

 

Q: Hanyu has incorporated so many new things!
A: He said he was originally self-taught, analysing 'to perform this kind of movement, I probably need to use my body this way.' I think his analysis has come together this time. It’s like he not only solved the current problems but also answered some of the questions he had before.

 

Q: This is your third time directing one of his ice shows. What is unique about the experience of directing an ice show?
A: Ice shows continue to present new challenges for me. One distinctive aspect is that the size of the rink is always fixed, so the challenge lies in creating a unique visual experience within those constraints. While the fixed size can be limiting, it’s also exciting. In contrast to performances with more confined spaces, ice shows offer a generous amount of space to work with. It feels like painting on a canvas full of endless possibilities, and finding ways to transform the rink visually is a deeply rewarding challenge.

 

Q: You once said at the end of RE_PRAY, “I wonder what kind of work I would make next if I had the chance.”
A: While working on “RE_PRAY,” I kept thinking about what might come next. From a visual perspective, I was certainly pondering that very question. As for the story, I felt that Hanyu-kun had fully expressed his own story through GIFT and RE_PRAY. So, I was looking forward to seeing if he would step outside of his own framework and what kind of story might emerge if he did. In the end, he created an entirely new protagonist, "Nova," and wrote a completely different story. I really didn’t expect it to change this much.

 

Q: As a director, how would you describe Echoes of Life?
A: I think it’s a work that can showcase greater potential. In past works, the focus was more on how to showcase Hanyu Yuzuru as an artist and how to design a performance within the framework of figure skating. This time, it feels like the subject has shifted, and the focus is more on presenting a cohesive story. It feels fresh and also makes me feel like I’m being tested (laughs).

 

Q: Following RE_PRAY, this time you’ll also be touring in three cities. What is the appeal of touring?
A: Yes, each venue has different perspectives, so it really tests our ability to adjust once we enter the venue. But the essence of touring is that the same work can offer completely different experiences and feelings in different venues. So, I plan to fully make use of the characteristics of each venue.

 

Q: One of the venues is Hiroshima, your hometown.
A: It’s rare to secure the Hiroshima Green Arena. Echoes of Life explores themes of life and peace, and performing it in Hiroshima, especially around the time when the Japan Confederation of A- and H-Bomb Sufferers Organizations received the Nobel Peace Prize, feels almost like a miracle.

 

Q: What is it like working with this team?
A: While all concerts and stage performances are difficult, the mountain we have to climb in ice performances is something that no other project can compare to. When I first received the original work, I instantly felt like a very high mountain was in front of me (laughs). Facing this towering mountain, we can only take it step by step, and right now, we can’t even see the summit. We can only start climbing from here, hand in hand (laughs). We’ve been thinking about how to make the audience understand this piece clearly within two and a half hours. The fundamental theme of the work is life and the things Hanyu has always cherished, so we must approach it with sincerity. The sense of unity, as everyone comes together to face this challenge, is especially strong.

 

Q: You’re climbing a mountain whose peak you can’t see yet.
A: It feels like starting from a place where nothing is visible, and gradually being able to faintly see a hint of the summit. And when we step onto the stage, there's this feeling of being suddenly pulled to a higher place. The feeling of everyone working together toward that goal is truly joyful. Perhaps it's through this that we experience the value of what we’re doing. People from different fields come together at this point in time. 'How to minimize costs in a short period and complete the work efficiently'—these are the demands of the times. But this work allows us to set those concerns aside for a while, to handle things carefully, and to deliberately choose the tasks that are time-consuming and labour-intensive. That’s ICE STORY. It gives a sense of returning to the original intention. Although returning to that intention is also quite tough for me, this is the essence of ICE STORY. I think this quality may stem from Hanyu’s focus and self-discipline... I believe everyone involved in this work probably shares the same feeling.