*machine translation, inaccuracies exist*

 

 

Info: https://www.amazon.co.jp/チーム・ブライアン-ブライアン・オーサー/dp/4062191733/

Source: https://tieba.baidu.com/p/3607241795?pn=1

 

The man who led Yuzuru Hanyu to the top. The world's strongest figure skating coach reveals the story of meticulous strategy and heated battles. Includes a conversation between Orser and Yuzuru! The man who led Yuzuru Hanyu to the top.

The world's strongest figure skating coach reveals the story of meticulous strategy and heated battles.

Includes a conversation between Orser and Yuzuru!

 

Table of contents :

Introduction 

 

Prologue: Brian Orser & Yuzuru Hanyu - A Coach–Student Conversation

-In search of “Yuzuru’s skating style”

-The Ability to See a Program Through to the End

-Toward an Olympics where things go “as usual”

-Seeing Brian’s Happy Expression, My Frustration Turned to Joy

-Leading the advancement of figure skating

-Wanting to pass on what I learned from Brian

 

Chapter 1: Mr. Triple Axel

-Falling in love with figure skating

-The Epicenter That Changed Men’s Figure Skating

-The "Monster" That Is the Olympics

-The Drive to Take on New Challenges

-Attempting the Quadruple Jump

-The Only Canadian Champion to Compete in the Olympics

-A Mere 0.1-Point Difference In The Total Score

-“Orser, Still A Loser”

-Founding Stars on Ice

-Commentary

 

Chapter 2: Kim Yuna

-Talent That Left People Stunned

-Training through tears every day

-Shifting from Quantity to Quality in Training

-Rivalry with Mao Asada

-The Moment Yuna Smiled for the First Time

-Even the critical media fell silent

-Seeing herself in a Bond girl

-Pressure from the Korean Skating Federation and the media

-A secret plan for Vancouver

-A Strategy for Peaking

-The Olympics as just another “everyday” competition

-Not thinking of it as revenge for Calgary

-Parting ways with Yuna

-Commentary

 

Chapter 3: Yuzuru and Javier

-Adam and Christina: Two Experiences

-Javier, Full of Unexpected Happenings

-Yuzuru: Overflowing with Talent, but Unable to Control It

-Yuzuru's Aesthetic: Always Performing with Full Power

-Even with Two Skaters, I Alone Bear the Responsibility

-Record-breaking at Skate America 2012

-“I want to win two Olympics”

-The 2013 World Championships fought through illness

-A wonderful chemistry between two very different types

-Commentary

 

Chapter 4: The Sochi Olympics

-Music that perfectly matches Yuzuru’s strength

-The Grand Prix Final in Fukuoka, where the balance of power shifted

-A gripping Japan National Championships

-Treating the Olympic Team Event as a Separate Competition

-Team Brian takes the stage

-The gold medal was already decided during practice

-A silent hug with Patrick

-The free skate lacked a “magical moment” 

-Commentary

 

Chapter 5: Team Brian’s Coaching

-The Lineup of Team Brian

-Packaging, Managing, Motivating

-How to Work with Two Top Skaters

-Adapting to the Changes Demanded by the ISU

-Approaches to Raising Scores

-Off-ice coaching

-How to deal with the media

-Mental control

-A community that satisfies the coach

-Commentary

 

Final Chapter: After the Sochi Olympics, Towards the Future

-A Double Podium at the 2014 World Championships

-How the Programs for the New Season Are Decided

-A Time to Push Beyond the Limits and Find New Strengths

-To Javier

-To Yuzuru

-MY MISSION

 

A Word from the Editor

Introduction

 

The Sochi Olympic season was truly an exciting one for me. My student, Yuzuru Hanyu (Yuzuru), won both the 2014 Sochi Olympics and the World Championships, and Javier Fernández (Spain) also earned a bronze medal at that same World Championships. Four years earlier, at the Vancouver Olympics, my student Kim Yuna (South Korea) had taken gold, and I was described as having achieved “back-to-back Olympic victories as a coach.” Having won two silver medals myself at the Sarajevo and Calgary Olympics during my competitive career, I came to be regarded as a “success” both as a skater and as a coach.

 

When both Yuzuru and Yuna won their respective titles, many coaches, athletes, and media outlets asked me, "How can you make your student win a gold medal?" Many people likely assumed that just by following my guidance, one could achieve a gold medal. In fact, after Yuzuru's victory, many top-level skaters from around the world rushed to request my coaching.

 

However, I don't believe my students' success is solely due to my efforts or any special technique I have. That notion is absolutely incorrect. I have simply been fortunate enough to encounter many exceptional people, spending every day with trustworthy and talented individuals. What I cannot forget, as people call me a successful coach, is to express my respect and gratitude to the many people who have supported these skaters before me.

 

Yuzuru, Yuna, Javier, and all the other athletes each started under various coaches who discovered their talents and helped them develop the qualities of top-tier athletes before they joined me. While Yuzuru's success rate with the quadruple jump improved after coming to Toronto, the ability and foundation for executing a beautiful quad jump were developed long before. If I were to take credit for making him capable of doing the quad jump, that would be a grave mistake. When Yuzuru, at 17, first joined me, his spins and jumps were already outstanding, and he had twice the passion of others. The contribution made by his previous coaches is obvious.

 

There was Nanami Abe, who coached Yuzuru until 2012, as well as the many coaches and trainers who worked with him, even if only for shorter periods, and the many people who supported him mentally. Thanks to all these people, we have the Yuzuru we see today. Yuzuru's gold medal is absolutely not just my accomplishment.

 

The same goes for Nam Nguyen (Canada). When he won the 2014 World Junior Championships, the first thing I did was send an email to his previous coach, saying, "A part of this championship belongs to you. Thank you for developing him to this point."

 

I was able to thank Nam’s former coach directly because he was also Canadian and we had met before. But when Yuna and Yuzuru won their Olympic titles, I never had the opportunity to thank their previous coaches. I do not even know how many coaches they had before coming to me, nor have I spoken with them. Yet all of those people had done excellent work with them before they ever came under my guidance. I absolutely cannot take all the credit myself.

 

On the day of the free skate at the Sochi Olympics, I simply happened to be sitting beside Yuzuru in the Kiss-and-Cry area while waiting for his scores, and I happened to be the one interviewed by media outlets from around the world.

 

Let me talk about my own days as a skater. Before I began training under Doug Leigh at the age of seven, I spent a brief period, between the ages of five and seven, training with a female coach. She skated beautifully and carefully taught me how to skate when I was still a child, making me fall in love with skating. Although I was very young at the time, I still vividly remember both her skating and the way she taught me. Even after Doug Leigh became my coach from the age of seven onward, those days with my childhood coach remained part of my memories as a skater, and I often look back on them with gratitude.

 

That is why, now that I have had the privilege of publishing a book in Japan as a figure skating coach, I must not forget to pay tribute to Yuzuru’s former coaches. Every one of them contributed to developing him into an Olympic champion.

 

I’m happy that skaters of all kinds, each with their own unique habits and styles, come to me. As I watch them and think about the training and lessons they’ve received, I realize just how much love and care has gone into nurturing them.

 

For every skater who has come under my guidance, I have devoted myself wholeheartedly to their development. To help exceptionally talented young people like Yuzuru and Yuna come as close to success as possible, I observe which direction they are heading in and guide them accordingly. Looking at their success, I believe that their training life in Toronto created a positive chemistry with the talents they already possessed, allowing those talents to blossom. If I played any role in that process, it was simply to provide the environment and light the fuse that allowed their talent to erupt. That is all.

 

At the Toronto Cricket Skating & Curling Club (hereafter the Cricket Club), where I coach, there are more than 20 other coaches working together as a team. Without any one of them, Team Brian could not exist. Each of them takes on an important responsibility. In this sense, the athletes' medals are not only my achievement but also the result of the efforts of their past coaches and the coaches at Cricket Club. This sense of gratitude lies at the very heart of what forms Team Brian.

 

I’ve only been coaching for eight years, and my skating journey is still far from over.

 

I would like to express my gratitude to everyone who has supported my students in the past. In particular, I intend to record my coaching journey as a way of paying tribute to the Japanese coaches who nurtured Yuzuru. It feels like my skating travel diary. It's like a diary of my skating journey. I hope the word "Arigato" (thank you) reaches everyone in Japan.

 

This book is based on interviews with Coach Brian Orser conducted in July 2014 at the "Toronto Cricket Skating and Curling Club" in Canada, and a conversation between Orser and Yuzuru Hanyu in August 2014 at the same location. The interviewer was Yoshie Noguchi.

Prologue: Brian Orser & Yuzuru Hanyu - A Coach–Student Conversation

 

About half a year after the Sochi Winter Olympics, in early August 2014, Brian Orser and Yuzuru Hanyu resumed their discussion about the next four years. About the next Olympic cycle, future goals, and future dreams. Through the conversation, the master and apprentice made a new resolution.

Note: Yuzuru Hanyu is referred to as Y, and Brian Orser as B in this text.

Spoiler

Section 1: In Search of "Yuzuru's Skating Style"

—It’s been half a year since you won the gold medal at the Sochi Winter Olympics. First, could you each share what you would like to say to each other after the Olympics?

B: First of all, congratulations on winning the gold medal. You can still get even stronger, so don’t stop here, and let’s continue to improve together.

Y: Although it’s only been a short two years since I came under Brian’s guidance until the Sochi Olympics, we trained and communicated together, and that allowed me to make progress and show my abilities at the Olympics. When I first came to Toronto, there was a language barrier, but Brian was always able to understand what I was thinking and what I wanted to do. It’s really impressive how Brian, as my coach, always thought ahead and considered what I needed.

B: When Yuzuru first came to Toronto two years ago, he was already a talented skater. The first time I saw him was at the 2011 Nebelhorn Trophy, and my first impression was that a really exceptional skater had appeared. When I saw him again at the 2012 World Championships in Nice, alongside Javier Fernández, he had already grown into a strong competitor. He was young and passionate, and he was definitely someone to watch in the near future. So, when I heard that he wanted to come here to train and join our team after that World Championships, I was really surprised.

Y: I saw Javier’s quadruple jump improve significantly during the 2010-2011 season, and his success rate went up. Whether in competitions or public practice, his quad jumps were very impressive. I heard he switched to train with Brian, so I thought there must be some kind of secret to it. Since the quadruple jump is my biggest weapon, if I could stabilize my quad jump, there would be a possibility of improving other aspects like my skating and expressiveness. That’s when I decided to train with Brian.

 

—After arriving in Toronto in 2012, I heard that you didn’t initially focus on the quadruple jump but instead started from the basics. Is that true?

B: In the spring of 2012, when Yuzuru first came to Toronto, I took him to various rinks around the city, and we skated together. This was actually an experiment. I had him try various footwork and connecting moves, and I observed his skating technique and the characteristics of his movements from different angles. I found that many of his techniques were quite random and changed depending on his mood. So I thought, if his technique fluctuates depending on his emotions, he won’t be able to jump consistently.

Y: As Brian mentioned, before coming to Toronto, my performance on the ice was a bit influenced by my mood that day. Even in my routines, things like speed and the number of crossovers were random, and I could feel it myself.

 

—So, did you start training from the basics because of that?

B: Yes, it all started with having in-depth communication with Yuzuru. The key was to find a technique that suited him and then set goals. Everyone has different skating techniques and habits, and recognizing that is really important. Before focusing solely on the quadruple jump, we needed to solidify the basics, particularly his skating technique. I’ve found a suitable technique for both Javier and Nam Nguyen, so I began exploring “Yuzuru’s skating style.” In fact, even after two years, we’re still in the process of figuring it out, but sooner or later, he will need to master his own style.

Y: Although I trained in skating technique when I was younger, this was the first time I received a thorough re-training in skating technique after I transitioned to senior competitions. At first, it was very difficult. Actually, I still find it difficult even now (laughs). But I understand that the focus on skating technique will benefit me in the future, and it will also improve the overall program.

B: That’s right. This is where Yuzuru shines—he embraced the basic skating training. It may also be because he didn’t have another choice (laughs). At the Cricket Club, all the skaters undergo skating training led by Tracy Wilson. The differences in their abilities are clearly evident, and everyone has to work hard to catch up. Yuzuru also realized that he shouldn’t let his emotions affect his skating. By skating with other skaters, he deepened his understanding of basic skating techniques.

Y: It’s true. After coming to Toronto, I truly realized the importance of skating technique. It affects the stability of your skating, and it is related to the quadruple jump as well. I feel that both the take-off and timing of my jumps have improved.

 

—Besides skating technique, what other aspects are emphasized in your overall training?

B: My coaching style places a lot of emphasis on communication. The more talented the skater, like Yuzuru, the more important communication becomes. Some coaches might give orders like “You have to do this move like this,” but I believe every skater has already mastered different techniques, so it’s the coach’s job to adapt to each skater’s characteristics. So with Yuzuru, I don’t force him to jump in a particular way, but instead, we look for the jump that suits him best.

Y: It’s true. Brian and I discuss everything thoroughly. Even when practicing jumps, we record the jumps and then watch them together. He asks me, “How does it feel?” and I’ll answer, “It feels like this.” Then Brian will suggest, “How about trying it this way?” Through repeated discussions, my jump technique eventually took shape.

B: What’s important is the “good feeling.” Through training together, I realized that Yuzuru and I are quite similar in that we both care deeply about the feeling of the jump. The training method that works well for this type is to record the “good-feeling” jumps and analyze the videos objectively, looking for successful patterns. Things like breathing frequency, body condition, rhythm, knee usage, glide path, and posture during the jump—all these things need to be explored.

 

—I see, this is really a very theoretical approach to training.

Section 2: The Ability to See a Program Through to the End

— What did you discuss after the first season ended and before the Olympic season began?

Y: We discussed how to adjust my condition so that I could reach my peak at the right time. In fact, before that, I had never deliberately adjusted my condition, and I didn’t know how to bring myself into peak form according to the competition schedule. Whether it was training, competitions, exhibition galas, or ice shows, I always gave everything I had. Especially in the season before I came to Brian, I participated in 60 ice shows during the summer break. In every single show, I performed my short program and free skate with all my strength. By the time that summer was over, I had already used up my peak condition.

— The Sendai rink had closed due to the Great East Japan Earthquake that season, so ice shows became a precious training ground for you..

Y: That’s right. At the time, all I could do was seize the opportunities available to me during the summer break and train as hard as I could every day. Brian was with me for the 2012–2013 season and noticed this tendency of mine. Before the Olympic season, we often discussed this issue together. Also, before the World Championships in the 2012–2013 season, I injured my knee and caught a cold, so we also discussed how to maintain my health throughout the entire year.

B: Yuzuru is the type who pushes himself a bit too hard. In jump training, he’d always want to do "just one more," then "one more after that". He’s that kind of fiercely driven skater. With Javier, unless you tell him, “Do that move one more time,” he won’t do it. With Yuzuru, I have to tell him, “No more practice for now. Take a break.” I’m actually the same type as Yuzuru. Once I start training, I practise without holding anything back until I’m drenched in sweat. Whether in training or competition, I always want to come first. I always want to be the centre of everyone’s attention. But if you train like that, when competition time comes, you find that you’re already completely exhausted. I wanted Yuzuru to understand this.

— In other words, you needed to plan properly and distribute your energy sensibly throughout the season, right?

B: That’s right. That was one point. Another issue we discovered during the first season was how to ensure that he could perform well in both the short program and the free skate. He would do well in the short program, but if he let his guard down even a little, mistakes would occur in the free skate. This was because the free skate required more technical elements, and there were also many more things to pay attention to. What I wanted Yuzuru to do was to prepare himself mentally by separating the short program from the free skate, and to concentrate on the free skate as if it were another competition.

Y: I struggled with that, especially during my first Grand Prix event of the season, Skate America.

B: At Skate America, he achieved the highest score of his career at that time in the short program, but his free skate was terrible. However, at the NHK Trophy and the Japanese National Championships afterward, both his short program and free skate performances improved in comparison. We made some good progress. But at the final competition of the season, the World Championships, we encountered problems with managing his recovery after injury and maintaining his health. His short program performance was extremely poor. Although he managed to push through the free skate on sheer determination, it left us with a huge challenge to address for the Olympic season. Therefore, when preparing for the Olympic season, we had many discussions about the pace of training and how to manage rest periods.

— And then the Olympic season began. During the Grand Prix of Figure Skating series, you competed against Patrick Chan (Canada) at three consecutive events. You must have learned a great deal from that.

Y: At the first event, Skate America, all I could think about was Patrick Chan. Rather than wanting to “beat him,” I had a much stronger feeling of wanting to “catch up with him.” Since it was the first event of the Grand Prix series, I wanted to see how big the gap between Patrick Chan and me was. The moment I started thinking that way, a good result was already out of reach. That was because I wasn’t concentrating my energy on my own performance. Instead, I was focusing my attention on someone else.

B: Exactly. Yuzuru was always very concerned about what Patrick Chan was doing, whether we were training in Toronto or at the Grand Prix competitions. Though, I was the same way (laughs). Our goal was to beat Patrick Chan and compete with his high Program Component Scores (PCS). But we weren’t impatient about it. Our plan was to gradually raise Yuzuru’s program component scores through the competitions over the course of the season, so that he would reach his peak condition right in time for the Olympics.

Y: First, I lost to him at Skate Canada in October, and I was extremely frustrated at the time. So, before the Trophée Éric Bompard in France in November, I changed my training approach. Previously, I had been dividing each program into sections of about one minute and practising each section separately. After that, I began practising the entire program from beginning to end with the music.

B: Practising the entire program in training was very meaningful. Yuzuru had always placed the main emphasis of his training on the 4S (quadruple Salchow), so whether he landed that opening quad successfully affected his mental state for the rest of the program. But through this kind of training, he gradually came to understand that a program wasn’t just about the 4S. He had to skate the entire program from beginning to end. Even if he made a mistake on the 4S, he still had to concentrate and finish the whole program. Of course, that focus needs to be there right from the start of training. And in order to finish an entire program, he also had to learn how to distribute his energy. That is, what people commonly call managing his physical condition. Together with Tracy, we put a great deal of thought into changing our training methods.

— And the results of that training were evident at the French event. Although you fell on the 4S, you skated very well afterward.

Y: I talked a lot with Brian after that competition in France. Although I fell on the 4S at the French event, I didn’t lose heart or become discouraged. I worked hard and skated all the way to the end, and then I received a very high score. Brian told me that scoring comes from the program as a whole, not just the opening 4S, and I agreed with him.

— That was how you were able to win the Grand Prix Final in Fukuoka. It feels like you matured significantly after the French event.

Y: Before the Grand Prix Final, it was simply training, training, and more training. As for why I hadn’t won at the French event, my own feeling was that although I had trained hard, I still hadn’t trained enough. My short program performance had been perfect, yet I still couldn’t beat Patrick Chan. It wasn’t a question of whether I landed my jumps successfully. There was still so much more for me to work on. That competition made me realise this. Afterward, Brian and the others worked with me to draw up a detailed training plan. Previously, I would practise the entire program with the music two or three times a week. We increased that to six or seven times a week.

B: That’s right. Every day, Tracy, Yuzuru, and I would put our heads together to plan the training. Some days we’d do two full free skates; other days, one short program and one free skate. Sometimes we’d try skating the free skate first, or incorporate segment-specific practice and multiple run-throughs with music in a single day, and so on. The training content was different every day, and we spent that entire week concentrating fully without letting up. If we had simply repeated the same training every day without any particular purpose, our preparation would not have been sufficient by the time the Olympics arrived. That’s why we carefully worked out a plan. We decided in advance what to do on each day of the week and what we needed to accomplish that week. Everything had to be decided beforehand.

— And the result was your victory at the Grand Prix Final.

B: Yes, the victory at the Grand Prix Final changed everything. Yuzuru’s performance wasn't 100% perfect in that competition, whereas Patrick Chan skated exceptionally well. Yet, even with that performance, Patrick Chan lost to Yuzuru. Yuzuru’s victory shocked the entire world. More importantly, it changed the landscape of men’s figure skating. The Grand Prix Final was an important competition before the Olympics, and we managed to put immense pressure on Patrick Chan.

Y: For me, the Grand Prix Final was the competition that gave me confidence. It made me feel that the training methods Brian and the others and I had discussed and developed after the French event were correct. I felt, “Yes, training this way is working.” The fact that I had improved through training, and that I could beat Patrick Chan even if he didn’t make any mistakes, gave me confidence.

B: At that rate, I was certain that Yuzuru would be able to reach his peak form before the Olympics. Looking at the entire world, Yuzuru was the only one capable of closing the gap with Patrick Chan’s exceptionally high Program Component Scores (PCS). The results of the Grand Prix Final conveyed a message to the media, judges, and figure skating fans: the Olympic competition would no longer be “Patrick Chan versus the top figure skaters,” but rather “Patrick Chan versus Yuzuru Hanyu.”

That was truly exciting.

Section 3: Toward an Olympics where things go “as usual”

—After that, did you ever discuss things like your chances of winning at the Olympics?

Y: We didn’t really talk about anything in particular after that.

B: I think it’s very important to keep things as they are; there was no need to make any changes just because it was the Olympics. I know everyone thinks the Olympics are something special. But we were on the right track, so our discussions about the Olympics were more or less the same as for any other competition, focusing on things like what to practise at the official competition venue and the travel schedule. It was the same after we arrived in Sochi. He trained with Javier and went about his daily routine as usual. Whether he made mistakes during practice or had a really good session, everything remained the same as always. After that, just as he would for any other competition, all he had to do was get his condition right and save his peak form for the actual event.

Y: We mainly discussed the training content before entering the Olympic season.

B: Yes. The only difference between the Olympics and other competitions was the addition of the team event, which meant the skaters had to peak twice. The individual events began immediately after the team event, so we had to get him into peak condition once, let him relax and unwind immediately afterwards, and then bring him back to his peak again. We incorporated exercises to help him adjust his condition into our daily training during the Olympic season. Other than that, the basic training routine remained exactly the same as usual.

—You seem to have been in a very calm frame of mind. You also looked very consistent during the open practice sessions after arriving in Sochi, and you seemed to be in good shape. Next came the team event. What was it like for you?

Y: As for the team event, I approached it as a practice competition for the men's singles. It was my first time participating in the Olympics, so naturally, I felt a little uneasy. I kept hearing people around me say, “The Olympics are special.” Even for Brian, the Olympics he had competed in as an athlete were a special kind of experience. So I thought it would be good if I could experience for myself what exactly made them so special. As for my condition, I’d say I was at about 80% of my peak form during the team event.

B: The team event was a newly introduced discipline, so there was no precedent for the teams, the athletes or even the media to refer to. Everyone had to adapt as things unfolded, and Yuzuru handled it very well. Although he only competed in the short program, he still had to cheer on and support his teammates afterwards. I think he expended quite a lot of energy during the team event as well. That’s why it was important to help him relax afterward and give him a chance to unwind and release some of that tension.

Y: Exactly. There were only three days between the team event and the individual event, so we decided to take one day off to rest. I didn’t even see Brian that day. I just relaxed on my own and let both my body and mind recover. As for the short program in the individual event, the team event had given me confidence. I realized that if I could deliver a perfect performance on the Olympic stage at just 80% of my peak form, then there was nothing to worry about if I could bring myself to 100%.

B: The most important thing when preparing for the individual event is to relax. The atmosphere around you is very different once you move on to the individual competition. In the team event, you’re only competing against teams like the US and Canada. But in the individual event, there are coaches and officials everywhere, and the locker room is full of outstanding athletes. So we wanted to create an environment that felt just like any other competition, where Yuzuru could relax as much as possible.

Y: What left the deepest impression on me during those few days before the individual competition was how relaxed Brian was. I had assumed that both of us would inevitably be nervous at the Olympics, but he was just as calm as ever. That was exactly why I trusted him so much, and it allowed me to step onto the ice with peace of mind. If even Brian had been nervous or seemed unlike himself, that tension would have affected me too. But what I felt at the rink was simply, “Ah, it’s just like any other competition.” Brian had already coached a skater to Olympic gold, so there was a sense of security about him. He made me feel confident, as though I had someone dependable to lean on. When the competition began and I heard my name announced over the loudspeaker, I did exactly what I always did: shook hands with him, crouched down, tapped the boards, and then went out onto the ice. (laughs)

—And the result was a flawless short programme, earning you a score of over 100 points. After the short program, you must have discussed how to approach the free skate and what frame of mind to be in.

B: The biggest challenge at that time was the overall competition schedule. It was the same for all the men's competitors: the individual event came just three days after the team event, and there wasn't even a rest day between the short program and the free skate. Everyone was exhausted. The short program had finished very late the previous evening, and early the next morning, we already had free-skate practice. There was barely any time left to sleep. The quality of the ice was another issue. The ice felt different during morning practice than it did during the evening competition, which made things even more difficult for the skaters.

Y: After the short program, there was a press conference. By the time it finished and I got back to my room, it was already past midnight. I probably slept for only about four hours before getting up for morning practice.

B: That was because the short-track speed skating events had been scheduled for the afternoon, right between figure skating's practice sessions and competitions. As a result, figure skating practice had to take place very early in the morning, while the evening competitions finished very late. Hopefully, at the next Olympics, the organizing committee will arrange the schedules so that the two sports don’t overlap in this way, either by separating the events or scheduling them at different times.

Anyway, putting the scheduling issues aside, the fact was that none of the skaters were in peak condition going into the free skate. Even under those circumstances, Yuzuru continued to perform well during the open practice sessions, earning high praise from those around him and building up some great momentum. It’s also important to make an impression on the people around you, earn their praise, and use that positive momentum to turn things in your favor.

Section 4: Seeing Brian’s Happy Expression, My Frustration Turned to Joy

— You mean that the momentum had shifted in Hanyu’s favor, is that right? Since no one had fully shaken off the fatigue from the short program before heading into the free skate, what kind of day was it for you both?

Y: On the day of the free skate, I felt that something was wrong from the morning’s official practice session. My body felt very heavy. But during the run-through with the music, I successfully landed both the 4S and the 4T, so I thought perhaps I was just a little nervous. Brian, how did things look from your perspective?

B: I couldn’t tell if your body felt heavy, but the rhythm of the six-minute warm-up before the competition felt very strange. It wasn’t just Yuzuru; Javier and the other skaters all seemed a bit off. It was as if whenever one skater prepared for a jump, another would happen to be in their path, forcing them to change direction and preventing them from executing a high-quality jump. The skaters kept getting in each other’s way. I think that’s why Yuzuru felt like his body was heavy.

Y: Yes. Five of the six skaters gathered in the same place at the same time. The six-minute warm-up was absolutely terrible. I can’t remember what happened at all; I really couldn’t get anything done. It was extremely chaotic.

B: Actually, whether the six-minute warm-up goes well or not has no practical significance, because it isn’t the competition itself. So, I made a point of staying calm and composed, showing no signs of concern. Yuzuru sometimes pays too much attention to the six-minute warm-up. When it goes well, he becomes especially happy, and he may end up being too relaxed during the competition. Yuzuru has this tendency to place too much emphasis on the six-minute warm-up. This is something we need to work on in the future.

— After the six-minute warm-up ended, Javier was the 19th skater to compete, meaning he was the first skater in the final group. Daisuke Takahashi was 20th, Yuzuru Hanyu was 21st, and Patrick Chan was 22nd. That was the skating order at the time.

B: Javier actually didn’t want to skate first, but that’s the spot he drew, so I had to be by his side. After the six-minute warm-up, I temporarily entrusted Yuzuru to his personal physiotherapist, Mr. Akira Kikuchi. Once Javier finished his performance, I went straight to Yuzuru without even looking at Javier’s score. As I ran down the hallway, I changed out of my Spanish team jacket and put on my Japanese team jacket. I thought that if I ran toward Yuzuru, I might convey a sense of panic and nervousness to him. So, when I saw him standing at the end of the hallway, I immediately slowed from a run to a walk, putting on an appearance of being completely calm and unhurried.

Y: So that’s what happened. After the six-minute warm-up, I first went to the training room with Mr. Kikuchi. But there were a lot of people in that room: four skaters, along with federation staff, coaches, and others, about 15 people in total. Under those circumstances, I did some jogging, massage, muscle stretching, and other activities.

B: Yes. The room was only about the size of a small conference room. When I went in and saw so many people crowded inside, my nerves tightened, and I was taken aback. Yuzuru was already listening to music and concentrating, so I didn’t say anything to him.

Y: Brian, was there actually anything you wanted to say to me at that moment?

B: No. At that moment, I felt that, as a coach, I shouldn’t try to change anything. Yuzuru was listening to his music, and everything was just as usual. That was enough. Yuzuru has his own routine, and I shouldn’t interfere with it. We only needed to exchange glances. That was important.

Y: Yes, yes. We made eye contact at the time. Putting on my skates, doing this, doing that, and then, “Okay, it’s time to go out”—all of that was communicated through eye contact. Having Brian there really helped me remain calm. Although we had only been working together for two years, Brian understood my pre-competition routine very well. He knew how I performed in competitions where I did well and those where I did poorly, in both the short program and the free skate. He also understood the circumstances under which I might not perform well. That said, I wonder: from Brian’s perspective, was I truly as focused as I seemed back then?

B: I think you were quite focused. It was just that after the six-minute warm-up, there was a gap of about 30 minutes, and during that time, a strange force seemed to emerge from within you. Yuzuru was in a state of using his concentration to forcibly suppress his intense inner anxiety. So I wanted him to get back on the ice as soon as possible and return to his usual state. I thought that once he was back on the ice, everything would be fine.

Y: Indeed, Brian’s experience as a coach helping skaters win gold medals played a major role, and his experience as a skater winning medals at two Olympic Games also played a huge part. Brian knows me very well. If anything is wrong, he’ll definitely tell me, and I trust him.

B: That was good. I watched Yuzuru finish all his preparations, and then it was time for him to take the ice.

— You fell on the opening 4S (quadruple Salchow) of the free skate, but quickly readjusted and successfully landed the 4T (quadruple toe loop).

Y: I think that comes down to what I learned at the French event (Grand Prix de France). At the French competition, before the event, the 4S was clearly more consistent than the 4T, but I made a mistake on the 4S during the competition. The same thing happened at the Olympics: the 4S was very consistent before the competition, but I failed to land it during the actual performance. It was very similar to what had happened in France. So, just as I had at the French competition, I thought that as long as I performed the next elements well, everything would be fine and I would get a high score. But then I also made a mistake on the 3F (triple flip), which really caught me off guard.

B: Exactly. I didn’t expect Yuzuru to make a mistake on the 3F. At the Calgary Olympics, I wobbled on the landing of my 3F and ended up winning only the silver medal, but my mistake was a very small one. So I was really quite surprised that Yuzuru made a mistake a such a relatively straightforward jump.

Y: True.

B: In any case, even though he made mistakes, Yuzuru persevered through the free skate to the very end and won the competition fair and square. Looking at the event as a whole, everyone made mistakes, so it wasn’t exactly an outstanding competition. When I think of the Olympics, I imagine everyone putting on wonderful performances and congratulating one another. But that kind of scene didn’t happen at these Olympics. Even though Yuzuru made mistakes, he didn’t give up and skated all the way to the end. The other skaters, on the other hand, gave up at certain moments.

Y: When my score came out, I thought I had no chance of winning the gold medal. So when it was confirmed that I was the champion, I was surprised. More than anything, I was frustrated that I had made a mistake on the 4S and hadn’t been able to skate the free program well. I hadn’t been able to fully demonstrate everything I had worked so hard for in preparation for the Olympics. In short, I was very frustrated. I couldn’t feel happy at all, and Brian must have realized that when he saw my expression. All I could think about was, “I’ll definitely land the 4S at the World Championships.” But after it was confirmed that I was the champion, I saw Brian’s expression. He was very happy for me. When I saw Brian’s smiling face, I finally thought, “Oh, I won. That’s great!”

B: You felt happy because I was happy?

Y: Yes. At the time, I didn’t feel happy at all myself. It was only when I saw how happy you were for me that I finally felt, “Wow, I really won!”

B: Objectively speaking, of course, this wasn’t the kind of victory we had envisioned. The free skate was far from perfect, which is a shame, but a win is a win. That’s why I told Yuzuru, "You won under these circumstances, and you should be proud of yourself. It might take some time for that to sink in, but you are the undisputed Olympic champion."

— Afterward, Yuzuru was so swamped with interviews that he didn’t have a chance to speak with Brian.

Y: That’s right. There were so many interviews; I didn’t get back to my room until nearly dawn, and it wasn’t until the following evening that I finally had a chance to talk to Brian. During dinner, I told Brian, “It’s because you guided me that I’ve come this far. You helped me improve and grow. I’m truly grateful to you.” I also kept saying, "I have so many regrets"—especially since my short program had gone so well. During our time in Sochi, Brian was genuinely happy for me, which left a deep impression on me.

B: Yuzuru wasn’t satisfied with his own performance, and I completely understood how he felt. Even so, I wanted him to know: "You are an Olympic champion, and I am proud of you." I wanted Yuzuru to accept that he truly deserves the title of Olympic champion—to stop blaming himself and just enjoy the moment. I knew he would come to realize this in time, so I wasn’t worried. I had to head back to Toronto to prepare for the World Junior Championships, so I left before even seeing the medal.

Y: Yes. I also returned to Japan first and then went back to Toronto. It was at the Cricket Skating and Curling Club that I finally put my gold medal around Brian’s neck for the first time.

Section 5: Leading the advancement of figure skating

— After the Olympics ended, your motivation didn’t seem to drop at all. You went on to compete at the World Championships and won the title, maintaining that momentum.

B: The World Championships held after the Olympics are a really difficult competition. Even Yuna Kim found it hard to summon the motivation and drive to compete again after winning the Olympic title. I experienced the same thing myself. After the Calgary Olympics, deciding to compete at the subsequent World Championships was a difficult decision. But I decided to compete because I wanted to prove my worth, and I delivered the finest performance of my competitive career before retiring. If you can’t achieve a good result at the World Championships, then the medal you won at the Olympics would have been for nothing. That’s why it takes courage to compete at the World Championships immediately after the Olympics. So, after becoming Olympic champion, Yuzuru had the courage to compete at the World Championships right after the Olympics, and that makes me very proud of him.

Y: From my own perspective, it was precisely because I couldn’t deliver a perfect performance at the Olympics that I was able to work even harder at the World Championships—and win the title. Of course, my short program at the World Championships didn’t go very well, and I also felt a great deal of regret over the mistakes in my Olympic free skate. Even now, after the World Championships have ended, that regret has become the driving force that motivates me to work even harder as I look ahead to next season.

— Now that you’ve won both the Olympics and the World Championships, you’re heading into the off-season and beginning preparations for the next four-year cycle. How are you feeling in terms of motivation, and what are your goals?

Y: Having won gold medals at both the Olympics and the World Championships, I think I’ll feel a kind of pressure in the coming seasons that is completely different from anything I’ve experienced up to now. I’m curious to hear Brian’s thoughts on this.

B: I think the most difficult and pressure-filled challenge is defending the Olympic title four years from now. Yuzuru still carries the regret of the Sochi Olympics, and I’m sure he really wants to deliver the best performance of his life at the next Olympics. That will probably become his biggest goal. Every season is another step forward on the road to the Olympics. Whatever life experiences you go through, they can all contribute to your growth. So I believe that as long as Yuzuru stays motivated, he’ll continue to improve.

— So, rather than focusing on the result four years from now, it’s more important to recognize how you grow as a skater in each season?

B: Some athletes struggle greatly with finding the motivation to push themselves again after achieving a major victory. But Yuzuru is already full of drive. My role, then, is simply to help him prepare what he needs for the upcoming World Championships in Shanghai. Javier, on the other hand, is currently lacking a bit of motivation, so I need to find ways to encourage him. For Yuzuru, the primary driving force is his own desire to keep improving. Beyond just winning individual competitions, what truly motivates him, and what he finds most meaningful, is exploring just how far he can elevate the level of men’s figure skating. This, in turn, is directly tied to the effort he puts in.

Y: I feel the same way. It’s not that I’m “leading the progress of figure skating,” but rather that "I want to keep challenging myself with new things." Just as I used to chase after Patrick Chan, there are now skaters who want to chase after me. And, of course, Patrick will be making his comeback as well. So, for example, if I were to add two quadruple jumps to the second half of my program, or attempt something that no one had ever done before, then naturally other skaters would try to challenge themselves to do the same thing. As a result, the overall standard of figure skating would rise.

B: It’s precisely because rivals exist that everyone pushes one another, competes against one another, and improves together. Because Brian Boitano (USA) was there, I wanted to become stronger, so I worked harder. And because I was there, Boitano raised his own standard even higher. Yuzuru has grown under Patrick Chan’s influence, and Patrick, in turn, will likely become a stronger skater through the influence and inspiration he receives from Yuzuru. By encouraging and inspiring one another, rivals can continue to improve together, moving forward without being held back by past glories.

Y: Exactly. I won’t become complacent. My desire to “become stronger” serves as an inexhaustible source of motivation. From now on, a new generation of skaters will continue to emerge, and the competition will only grow more intense. Just as I have gradually grown over the past four years, more and more skaters will move up from the junior ranks to the senior level. Perhaps, over the past four years, Patrick and the other skaters found the development of young skaters like me a little daunting. But as for how I feel now, I don’t find young skaters intimidating at all. Of course, young skaters will continue to grow and improve, and I’m the kind of person who thinks, “The more young skaters improve, the more I can turn their progress into motivation and work even harder myself.”

B: I’m the same way. At the 1984 Sarajevo Olympics, I placed seventh in the compulsory figures, but I finished first in both the short program and the free skate, so I suppose I won about 70% of the competition. After Scott Hamilton (USA), who won the title, retired, I was far ahead of the other skaters starting with the 1985 season. However, I never lost the motivation to keep working hard. I enjoyed my own continued progress and the challenge of trying new things, while working toward the Calgary Olympics. For the three years starting in 1985, I was consistently able to land the quadruple toe loop (4T) in training.

— You successfully landed a 4T in training in 1985, which was 30 years ago. There’s even video footage of it.

(The interviewer shows Hanyu a video of Orser successfully landing a 4T)

Y: That’s amazing! Brian actually landed a 4T too. (Watching the video) The speed is amazing! The approach, the three-turn entry—it’s the same technique I use!

B: Yes. I was always competing with Josef Sabovčík (Czech Republic), and we could both land the 4T during official practice sessions.

Y: That’s what it means to keep challenging technical elements that no one has successfully landed in men’s figure skating before. Brian, you’ve experienced the same feelings I’m experiencing now. Whether or not to attempt the jump in competition is another matter, but the feeling you had back then when practicing the 4T must have been the same as what I’m experiencing now when practicing the 4Lz and 4Lo.

B: Yes. I wanted to raise the competitive standard of men’s figure skating, so I challenged myself with the 4T. However, under the old scoring system, mistakes were penalized heavily. Even if you attempted a high-difficulty jump, you ran the risk of ending up with a lower score instead. At the Olympics, even if I had been the only skater attempting the difficult quadruple jump, a fall would have made winning the title impossible. At the time, my success rate on the 4T was about 50%, which made it very difficult to take the risk of including it in competition.

Y: Right. Even under the current scoring system, minimizing mistakes throughout the program will become increasingly important. Over the past four years, I’ve still made quite a lot of mistakes on my 4S and on jumps in the second half of my programs. Raising my success rate to the level of skaters under the old scoring system may still be a difficult goal, but I believe the expectation over the next four years will be “a performance with absolutely zero mistakes.”

— So, we’re entering a world of high-level skating where a completely clean performance, with absolutely no mistakes, is the basic requirement?

Y: Exactly. It’s not just a question of whether I can deliver a clean performance without mistakes; the entire sport is already moving in that direction. Patrick Chan, for example, is certainly capable of delivering error-free performances. He already delivered a perfect performance at the 2013 Trophée Éric Bompard in France. I believe figure skating is entering an era in which skaters must incorporate high-difficulty jumps while also delivering completely clean performances without mistakes. How I can continue to develop as a skater so that I can deliver such performances will be my most important goal over the next four years.

B: Exactly. I agree 100%.

Y: Yes. For example, executing the flip and Lutz with the correct take-off edges, and improving the quality of jumps, spins, and footwork—all of these are important. The quality of the entire program matters. There shouldn’t be any elements that warrant deductions. It’s also important to consistently earn positive Grades of Execution (GOE) of +2 or +3 on every technical element.

B: Exactly. You understand it very well. You have to keep up with the current scoring system and, above all, make sure you earn positive GOE. If you do that, you’ll ultimately be able to win. You need to execute high-difficulty technical elements with machine-like consistency. Yuzuru is currently training the 4Lz and 4Lo to boost his motivation, and that’s beneficial, but there are other areas where he needs to improve even more.

— In what areas, for example, could Yuzuru grow further?

B: The areas where he most needs to improve are the precision and artistry of his performances, so fundamental skating skills and an understanding of performance are very important. Over the next four years, I hope Yuzuru will enjoy the process of discovering his own unique style and exploring a way of skating that is completely different from what he has done up to now. And it’s perfectly fine if some programs don’t quite work out. Even Yuna Kim had a couple of lackluster programs—her 2008 short program, set to a waltz, really didn’t suit her style and was quite unsuccessful. The following year, her classical piece also fell a bit short. Yet, it was precisely those setbacks that led her to explore and eventually create her unparalleled "James Bond (007)" program for the Olympic season. Over the next four years, it’s important that he not be afraid of failure and instead challenge himself with music in different styles.

Y: Brian gave me the same advice, too. This year’s short program, set to Chopin’s "Ballade No. 1," leaves a completely different impression from last year’s short program.

B: Yes. Compared with last year’s, this year’s short program takes a completely different direction. We initially debated whether to refine the style of last year’s program, but in the end, we chose a completely different path—and I believe it’s been a huge success. Having seen the performance at the Fantasy on Ice show in Toyama this July, I’m confident that this could become an even better piece than Parisienne Walkways.

Y: I’m happy about that, too. Plus, we’ve changed the choreographer for the free skate to Shae-Lynn Bourne, and it feels completely different when I skate it. I hope I can deliver a program that gives the audience a completely different impression, too. As for the free skate music, I was the one who suggested skating to "The Phantom of the Opera" this season, since it’s a piece I’ve wanted to skate to ever since I was in elementary school. Now that the Olympics are over, even if it might be considered a "shortcut" (in the sense that it’s a relatively easier piece to skate to), I figured it’s better to just go with the music I truly want to perform (laughs).

B: He’s changed the choreographer for the free skate, and it’s important to keep trying new things like this. Who knows, there may be further changes next season, too. Of course, there are skaters like Javier who get along particularly well with David Wilson and therefore ask the same choreographer to work with them every year. But Yuzuru is different. Whether it’s David Wilson, Jeffrey Buttle, or Shae-Lynn Bourne, Yuzuru is the type of skater who can adapt to any choreographer and continue discovering new possibilities. As he works toward the PyeongChang Olympics, it would be wonderful if he could gradually discover which choreographer suits him best.

Section 6: Wanting to pass on what I learned from Brian

— So, looking at the long term, what goals have the two of you set?

Y: Do you think I’ll still be skating eight years from now?

B: Another four years after that? That would be amazing! When I was still competing, I didn’t think I’d be able to make it to a third Olympics. But eight years from now, you’d only be 27, Yuzuru, right? I retired at 26, so from a physical standpoint, it might not be impossible.

Y: But I don’t want to—I don’t want to keep skating for another eight years (laughs). I want to focus all my energy on these next four years and then bring my competitive career to an end.

B: That’s perfectly fine, too. Let’s take it one step at a time—four years at a time, or even year by year—and then decide what comes next once these four years are up.

Y: Yes. But now that I’ve become an Olympic champion, I’m being treated like a celebrity, and there are also expectations from the media and fans. How should I approach life as a competitive skater now that I’ve become an Olympic champion?

B: Take Yuna Kim, for example. She continued competing for four years after winning gold in Vancouver, but your situation is completely different from hers. She had expended all her mental and emotional energy at the Vancouver Olympics. So the four years that followed, leading up to Sochi, didn’t seem to be a particularly enjoyable time for her. By the Sochi Olympic season, it was clear that skating had become more of an obligation. But you, Yuzuru, still have a tremendous passion for figure skating after winning your first Olympics, and you’re still young as an athlete. For you, the Sochi Olympics were simply the beginning of your career as an elite figure skater. Besides, you really enjoy training and competing, don’t you? As long as skating doesn’t become an obligation, you’ll be fine.

Y: Brian, did you feel any pressure after your first Olympic experience?

B: It wasn’t entirely pressure, you know. What I hope is that, over the next four years, Yuzuru will work hard as a competitor while also enjoying the fun of being a star. That’s my advice as someone who was also treated like a star. Yuzuru has a wonderful family, and he never forgets to treat others with humility, so I don’t think you’ll have any problems. I really like Yuzuru’s sense of humor, and I also love the relationship between Yuzuru and his family. Growing up in a good family, surrounded by love, is something I think is extremely important. And Yuzuru has an older sister who loves him very much. I have two brothers and two sisters myself, and all of us have been supported by so many people. Yuzuru has a very close relationship with his family, and I think his personal charm is connected to that as well. Both Yuzuru and I were born to wonderful, loving parents, and we both have a home we can always return to. That’s the greatest blessing in our lives. So even if he’s treated like a star, Yuzuru won’t change. I think that, when it comes to pressure and expectations, all you need to do is accept them, embrace them, and enjoy moving forward.

— Hanyu, have you given any thought to what you might do after the Olympics four years from now?

Y: If I were to retire four years from now, I’d first like to take part in ice shows. I’m also very interested in becoming a coach.

B: That’s wonderful! You should come here to Toronto and take over my work. If Yuzuru and Javier were to take the reins at the Cricket Club, that would be absolutely perfect!

Y: If I do decide to become a coach, I might start by teaching short-term courses, something like the summer camps here in Toronto. Since I’ll definitely be participating in ice shows, I wouldn’t be able to work with the same skater every day. But having worked so hard to become an Olympic champion, and having had the good fortune to learn from such an excellent coach as Brian, I want to do my best to pass on what I’ve learned here, including the way of thinking, to future generations of skaters.

B: Whether you’re still competing or have already retired, maintaining balance is key. As long as you keep a good balance between your skating, your personal life, and your family, you’ll be just fine. For my part, I didn’t fully commit to coaching until I was 44, when Yuna Kim became my first student. I spent the 17 years prior to that performing in ice shows, and I’ve only been a coach for eight years. So, Yuzuru, there is absolutely no need for you to feel anxious right now about what kind of work you’ll do in the future.

Y: Yes. But even after I retire, I really want to pass on to more people what I’ve learned from Brian. I clearly remember the inner struggles I went through both before and after winning the Olympics, and how Brian understood me and helped me work through those emotions. Those memories are incredibly precious to me.

B: I’m happy to hear you say that. My guiding principle with Yuzuru is the saying, "If it ain't broke, don't fix it." Yuzuru is in a stage of growth; nothing is broken, so there’s no need for fixing. There’s no need to impose strange theories on him or make changes blindly. The reason is simple: I never view athletes as experimental subjects, but as human beings. Of course, I’d be thrilled if Yuzuru won another title, but what makes me even happier is seeing how his life and way of thinking have evolved through our daily interactions. If I can guide him toward a rich and fulfilling life—a life not just as an athlete, but as a human being—then I am deeply satisfied as a coach.

Y: As expected, Brian is someone who is always thinking about what he can do specifically for me. He doesn’t just go along with what I want to do; he makes sure not to interfere with my ideas, while also thinking about the jumping technique, training plans, and ways of managing my condition that would suit me best. And it’s not just me. For every skater, he looks for and establishes an approach that works best for that individual. That’s one of the wonderful things about Brian: he is always thinking about what he can do specifically for each skater. On top of that, Brian is genuinely a wonderful person who always makes an effort to understand me and cares about me. That’s why, if I become a coach in the future, I want to be just like Brian.

— Thank you. I hope the bond between coach and student will grow even stronger, and that the two of you will continue moving forward together.

 

第三章结弦与哈维尔

第三小节才华横溢却无法控制的结弦

收到来自日本的羽生结弦的申请是在2012年世锦赛之后了。我很吃惊。因为(结弦)是在成绩上与哈维尔不分上下的竞争对手,然而他年仅17岁却在世锦赛上获得第3名,状态极佳。一般情况下,是不会在这个时候拜师指导竞争对手的教练门下的。

首先我在日本与结弦见了面。我还清楚地记得他那时的样子。他很内向,就像妍儿一样。我问他“为什么要和我见面”,他则回答了一句“我想去多伦多,和你一起练习”。 这就已经足够了,我明白他信任我。

真是惊喜啊。他很年轻又才华横溢,稍稍有些奔放不羁的地方,正可以展现team brian技艺的精妙,我对他充满期待。两位男单选手互相激励,互相竞争,对于团队来说是非常有益的,所以我一回到多伦多,就跟哈维尔说:“日本的羽生结弦,你知道的吧。他好像想来这里。”

于是哈维尔就说“这很好呀。”我又问“是竞争对手, 没关系吗?”,“没什么呀”。哈维尔完全不在意,反倒可以说是有名的选手要来真是再好不过了。我担心哈维尔可能会觉得(我)要指导其他的选手,自己被背叛了,会很失落。

而且我也对哈维尔说“我不会偷工省事的,会好好指导你们两人。竞争选手要来,对你会是个很好的刺激”。这如果是妍儿的话,就不会那么顺利了吧。她有受特殊公主般待遇的必要。女人心很难懂。但如果是男选手,特别是哈维尔和结弦的话,就不会有问题。

结弦在2012年5月来到了多伦多,我们上冰,尝试着去做了一些动作和滑行,是一段很令人兴奋的时光。

第一次看到结弦是在和哈维尔合作的第一年参加的尼贝霍恩杯上。(那时)结弦获得了第一名。虽然才华横溢,但看上去有些不能控制自己。说难听点,就是很毛糙,说好听点,就是不羁。滑行有点粗糙,控制力弱到会在步伐和衔接上失误。但我很喜欢他的精神。结弦对花样滑冰抱有很大的热情,很喜欢去滑冰和做跳跃。

距离奥运会只剩两年。也就是为了能在奥运赛季呈现上最精彩的节目,测试节目就只剩下一个赛季了。为了让结弦的滑行和全部的表演能够高效率地融合在一起,比起做各种各样的改变,(最终还是)决定保留他自己的特点。结弦所具有的狂放和粗野并不是简单的就能消失的,我觉得巧妙地保留他的狂野并做到自我控制是最好的。

短节目委托给了Jeffrey Buttle,曲目是蓝调的《巴黎散步道》。这个节目的话,他的粗犷狂野,他稍有欠缺的姿态,他的奔放不羁,反倒很有韵味。狂放,一旦控制不好的话,看上去就是粗暴,控制得好的话,就会变得沉稳而有韵味。不是去改变表演风格,而是引导他去领会这细微的差异。

自由滑由David Wilson来编舞。David和我在网上看了很多结弦过去的比赛,从中找寻出哪些是结弦擅长的,他是哪种类型的滑行风格。然后挑选出几首结弦可能会喜欢的戏剧用曲,(最后)决定选用了《巴黎圣母院》。

第三章结弦与哈维尔

第四小节永远全力以赴是结弦的美学

在team brian 中,首先一切练习都要归结到基础滑行的练习中。新进来的选手,不论如何擅长跳跃,都有必要回到滑行练习这一原点。虽然结弦很灵巧,又掌握了各式各样的技术,但有必要从基础滑行开始重新训练。

我和tracy都觉得结弦的节目内容分(PCS)有很大的提升空间。需要的是投裁判所好、行家认可的滑行。真正打动裁判的并不是跳跃的成功。

(裁判)看到难以置信的出色滑行和优美的用刃功底,才会深受打动。这样的选手就算在跳跃上稍有摔倒,分数也不会低。以单足滑行自然地加速,漂亮地做着曲线步,(这些体现你对于花滑)极其狂热的部分才会真正关系到你的得分。我想教授结弦的正是这样体现狂热的滑行。

结弦的体力也存在问题。因为他有哮喘没什么体力,所以在滑行上不能浪费体力。我认为比起增强他的体力,不如教会他不消耗体力的滑行,这才是正确的。没必要通过徒劳的肌肉训练和有氧运动去改变身体机能,只要掌握了卓越的滑行技术,就能顺利滑完节目。

为了能不消耗体力在冰上滑行,需要柔软地使用膝盖, 稳定平衡,轻松地将力量传递到冰上。至今为止,结弦做完一个跳跃,就踢着、蹬着,滑到另一个角落才接着做跳跃。 但是如果掌握了卓越的滑行技术,就可以做完一个跳跃,轻松顺利地滑下去做下一个跳跃。如果想加入两个4周跳,这种滑行方式是必须的。

具体的滑行练习由tracy来担当。她构思了各种各样的用刃训练。在进行整个节目训练之前,回归到单独的旋转和基础步法的练习,纠正全身的运用方式。

大多数选手认为用刃是指只要修正了脚下,就是正确的用刃。但并非如此,实际上是连带着上半身,全身都在起着作用。如果能适当地运用上半身和下半身的话,自然而然就能正确用刃。为了能让结弦切实感受到这点,我们实际上进行了很多训练,这样一直持续到奥运会开始之前。

强化基础滑行,也有利于跳跃的稳定。加入team brian之后,结弦的4周跳更稳定了,其中的奥秘就是滑行技术的提高。

为什么滑行技术提升了,就能做(高质量的)跳跃呢?主要因素是平衡。我们来讲一下冰刀吧。请想像下起跳前的助滑。扎实地将身体承载在冰刀上,只要控制好自身重心平衡的话,每次就能在同一时机,以同样的姿势完成跳跃。但是如果平衡不稳定,上半身和下半身摇摇晃晃的话, 每次就会以不同的姿势起跳,那就变成了散漫(随其自然) 的跳跃。这样的话再怎么练习都不会进步。脚下和上半身的平衡,如果不随时保持一致的话,就无法掌握跳跃。

正如之前说的,很显然,team brian 非常重视滑行。 我和结弦解释了滑行的重要性,他也全部理解并接受了。结弦在认真思考后,对我说“我要多练几次这个步法。这个步法需要花点时间。”这种时候若是没有耐心、急性子,只想去做跳跃的年轻选手就会退出team brian。但结弦理解并同意我们的做法。他是很听话率真的学生。

和结弦一起参加的首战是2012年10月5日的芬兰杯。和新选手参加的第一次比赛,通常都很有趣,因为我们会互相观察。我观察了结弦比赛前的套路。在热身的时间段做哪些事情,随着正式比赛的临近,精神层面会有怎样的变化,也就是看他的胆量啦。以结果来看,短节目发挥得并不好,但是自由滑中首次跳成了4S,很精彩的表演。

这次芬兰杯上,我掌握到的信息就是结弦的, 配”。他一表演完就倒在了冰面上。因为是以新节目参加的首个赛事,所以消耗完体力也没关系。到了比赛,会有紧张感,比平时的训练更累是理所当然的事。但不管怎么想着这是比赛,结弦在表演过程中也过于不冷静。所有动作都是过于用尽全力的感觉。本来节目中需要的就只是做优雅的姿势,顺畅地呼吸着然后继续开始滑这些动作而已,但这些在结弦的字典中并不存在。所有的要素都尽全力去表演,自己必须一直处在戏剧性的状态。

这样的话,做跳跃时也会喘不过气,也分不清到底哪些是看点。表演中带有缓急会更受好评。所以节目中需要沉着冷静的部分,这是教练(我)必须要发现的问题。

但结弦并不是这种类型的。他还很年轻,从开始到结束都全力以赴地去表演是他的美学,所以我就想着“他就是这样的选手,接受吧”。距离奥运会只剩两年了。当然或多或少让结弦稳重沉着了,但我在心中想着“带有缓急的表演, 就把它当成是下一个4年的课题吧”。

第三章结弦与哈维尔

第五小节选手虽是两人,责任则由我一个人背负

对于TEAM BRIAN来说,更重要的是这次芬兰杯是同时带结弦和哈维尔参加的第一场比赛。然而我只有一个人,所以在备战奥运前,我自身最需要学习的是如何监督两人的练习、热身以及正式上场。

两个人都是顶尖选手,所以经常会分在同一组或相邻的小组,一起去更衣室穿衣服鞋子。这同我只带一个人时是一样的。6分钟热身也比想象中轻松。有时两人几乎同时在不同的地方跳4周跳,要同时观察两边的要诀是看跳跃的助滑和进入方式。跳跃的瞬间就能判断是否成功了,所以不必看落冰就可以转头看另一边。偶尔也会漏看,我会直接坦白说出来。

“结弦,前面我看漏了。刚才的4T怎么样?”

这时候结弦说“成功了”,于是我回道“OK,那接着跳 4S".

6分钟热身充满了紧张感,但2人都很可靠,不,应该说是变得可靠了。两人在多伦多每天的练习中,已经习惯了被我这样同时照看。所以两个人不会有“6分钟只看我”的态度,我自己也不会发生「只陪结弦」或是「只看哈维尔」的情形。按计划奥运会也会是这种状况,所以必须要他们俩习惯这种形式。

重要的是,正式上场时的安排。选手上冰后,我必须在冰场旁。选手被报名字的瞬间,与教练握手,相互凝视。这是非常重要的时间。为此,如果两个人的出场顺序是紧挨着的话,我就不陪同去等分的KC区。KC区类似工作结束后的庆功宴会,当然我也很想一起等分、分享喜悦之情,但两人都理解,所以独自在KC区也没关系。我只需传达给他们两个人,我对他们倾尽了全力、注入了平等的爱。

即便如此,同时在大赛上指导2位顶尖男选手,使我倍感强调“因为我要带你们两个人,所以你们各自都要成熟起来”的必要性。这与单独照看哈维尔不同,同样对结弦来说也与跟随日本教练时的感觉不同吧。

我并没有考虑过再带一名助教来和我轮班照看。奥运时我必须扛起责任,所以要去习惯这种情形。我必须了解他们两个赛前的流程及习惯、明白该提出何种建议、保持怎样的距离感站定观察,这些都是我必须要切身学习的。

事实上这并不是仅凭1场比赛就能掌握的。每场比赛中的状况是不同的。以前觉得不从头到尾陪着不行的哈维尔,意外地放手也没关系,结弦虽然看上去放他一个人也不要紧的样子,但没有维尼纸巾套陪伴的话看上去会很寂寞,这些都是处理好比赛的同时发现的。

同时这样照看两个人,发现了很有趣的事情。两个人不论是性格还是行为都截然不同,6分钟热身也不一样。哈维尔如果跳了一次4S出现失误的话就不会再跳第二次。接下来就是正式上场时去跳。他若出现失误就能自己找出原因,正式比赛时会去留意。有时哈维尔自己发现了问题所在,有时我会给些建议。譬如“肩膀转得过早了”之类的。但是哈维尔不会在热身时重复2次跳跃,也就不会在意了。

事实上,我知道哈维尔即使平时的训练中,一次集训也只能跳成3、4次四周跳,所以我让他在正式比赛前不要跳太多。 四周跳需要相当集中精神,消耗较多体力,因此热身时不希望他用尽全力。但是正式比赛要扎实地跳成。这一点哈维尔他很了解自己。“就算练习时失误了,正式上场完成就行了”。真是少有的胆量和理想的轻松心态啊。

结弦的是那种6分钟热身时成功了才安心的类型。虽然是热身,他却认为必须表演好。其实练习就算失误也没有什么, 所以我想今后他还有必要学会这种精力的分配方式吧。如果自己明白热身时要做什么、做到何种程度的话,今后的比赛也会轻松地进行。

热身就如它字面意思,仅仅是“让身体热起来”。就这点, 我和结弦说过无数次。只需确认冰面的触感、自身恰当的起跳时机和节奏感就行了。正式比赛时身体行动是完全不同的感觉,而且有时的出场顺序是在离开冰面候场30分钟之后, 感觉又会变得完全不同。

我现役时期也是结弦这种类型。热身时一定要全部落冰成功才行。而且作为“3A先生”,热身时3A跳不成功就不能满足。现在回想起来,这是徒增压力啊。看到结弦,我真切地感受到了。

第三章结弦与哈维尔

第六小节 2012年SKATE AMERICAN破纪录

2012-2013年赛季GP首战SKATE AMERICIAN的短节目上,结弦滑出了史上最高得分95分。证明了加入 TEAMBRIAN虽然只有半年,但所做的努力都是正确的。成功展现出了结弦崭新的一面。虽然只有17岁,但滑行姿态却很稳重。我为他朝着既定目标的成长而感到激动。

然而,自由滑频频失误名列第3,最后总成绩排名第2。结果令人不敢置信。明明在这之前1个月的芬兰杯上,自由滑比得那般精彩,是备具实力的表演。想当然地期待自由滑也能表现优异。

当时直觉感到这是不容忽视的重大失误。赛后我难以入睡, 想弄清到底问题出在哪里。我也同结弦谈了各种各样的原因。一般来讲,短节目表现理想后的心情是很复杂的。不能想着“太棒了,我发挥很棒”而就此感到满足。但是这次不同。结弦明明没有掉以轻心,却表现不佳。这是为什么?

事实上,我和金妍儿也曾经历过这样的事情,我想起来那也是在SKATE AMERICIAN上。2009-2010年的奥运赛季,金妍儿在SKATE AMERICIAN的短节目上刷新了历史最高分。 这时候她领先第2位17分,自由滑却频频失误排名第2,虽然总成绩排名第1,但一想到这如果是奥运的话,真是一场令人毛骨悚然的比赛。

那时候的原因是陆地上的热身不足。因为金妍儿的出场顺序是6人中的最后一位,6分钟热身后脱了冰鞋在走廊里候场超过30分钟。另外,金妍儿把运动鞋放在了更衣室,只带了小瑜伽垫。短节目得了高分就放松大意了,没带齐器材。因此金妍儿在这小瑜伽垫上坐了30多分钟。我虽然想过必须要来回走动继续活动身体,但运动鞋在女更衣室里。结果她身体冷掉了,跳跃摔倒。我很后悔“因为是女更衣室就没留心, 不论如何都应该去取鞋子的”。

一边回忆这件事一边对比结弦,发现了点问题。结弦的情况截然相反,他陆上热身做过头了,结弦平时练习不会很激烈地热身。SKATE AMERICAN时,1小时都在做跳跃、跑步以及各种练习,稍带点疲倦了。而且前一天晚上短节目结束后夜里甚至还跑步了。也许是短节目表现得太好了,所以为了让自己冷静下来就过度地活动身体了吧。我在那次赛后, 做了此研究。

精神上与平时不同的时候,就会做出与平时不同的行为。因此,就会变成与平日不同的状态而犯下失误。这之后,我暗自发誓,奥运前要把结弦陆上热身的流程定下来。

取得历史最高分后接着表演了糟糕的自由滑,这是很有意义的一场比赛。距离奥运还有2年。我们充分利用好了每一场比赛,去了解彼此。不是为了赢而参加比赛,而是为了去调整修正课题。我和结弦已经就这一理念达成了一致。

第三章 结弦与哈维尔

第七小节想胜出两届奥运会

大奖赛第2战的NHK杯,结弦的表演很精彩。因为是在故乡仙台举办的,东日本大地震后,(结弦)很期望可以通过精彩的表演让大家重新看到希望并鼓起勇气。并不是为了自己,而是为了东北(的人们)去比。他的满腔热情带来了完美的表演。我觉得这是很好的一个动力。当然,作为team brian 来说,夺冠也就意味着进入了大奖赛总决赛。因为接下来是在索契举行的奥运会的试验比赛,所以是一场想提前体验的比赛。

参加在索契举行的大奖赛总决赛的目的有2个。第一是要呈现精彩的表演,更为重要的第二个目的就是要“开始意识到奥运会”。不管意识到什么都好。感受到了对奥运会产生的特殊灵感,奥运会即将成为现实,(通过参加总决赛)去按下对奥运会产生意识的开关。

虽然是在奥运会的14个月前,但(我们)已在美丽的会场,呼吸着索契这异国的空气。奥运会的相关商品等已开始销售,慢慢地感受到了“啊,是奥运会,好厉害”。这一瞬间,选手们对于这14个月的感受会从“还早呢”变化为“快开始了”。突然觉得这段时间很短。

比赛前的某天,我们俩人轻松地在海岸边慢跑。我们时跑时走,做着肌肉伸展,一边也聊了聊。结弦对我说了很多。其中格外强有力的话语,就是他对我说“我想成为索契奥运会冠军,下一次在韩国也想成为奥运会冠军”。并不是我问他的,而是他自己这样对我说的,想连胜两届奥运会。

我对他说“这很好啊”。14个月后将在这里举行奥运会的心潮澎湃感促使他这么想的吧。但是结弦能坦诚地对我说这些话,我很高兴,也有点惊讶。那一瞬,我在心中发誓要全力支持结弦实现梦想。

2012年12月末,对我来说是第一次参加了全日锦标赛。 (之前就)听说是气氛很高涨的比赛,但没想会如此热烈。 我完全被顶级组别选手的高水平震惊了。我的印象就是“这真的是国内比赛吗?”。女单也好,男单也好,排在前6、7名的选手,谁都是可以登上世界领奖台的水平。

男单中的王者高桥大辅的表演很精彩,结弦也上演了最出色的表演,从结果上来看,是结弦夺冠了。对结弦来说的是首次获得全日冠军的头衔,能和他在一起享受这一瞬间, 我感到很骄傲。和加拿大、美国一样,在日本,成为国内冠军要比成为世界冠军更难。

当然也有过不好受的时候。筑造了日本花样滑冰黄金时代的是高桥大辅。然而新一代(新生代)的结弦夺冠了。结弦自身好像有点困惑,看上去并没能从心底里感到高兴。从相反的立场上,我也经历过同样的事情。我是引领加拿大花样滑冰潮流的先驱者,蝉联了8届加拿大全国锦标赛冠军。 此时,Kurt Browning出现了,势必会发生世代交替。Kurt和我都退役后,在工作上一起合作。就是这样的一个过程。

高桥大辅具有领袖人物的超凡魅力,性格也很好,有很多粉丝。大家应该去尊敬他,感谢他,赞赏他所创造的功绩。即便如此,世代交替的瞬间终会到来,所以为了结弦在今后,为了能成为日本真正的王者,我对结弦说,在为夺冠而高兴的同时,也不要忘记对先驱者的敬仰。

那时结弦刚满18岁,可能还没有背负起日本花滑这样的觉悟吧。正因如此,作为教练的我必须采取强硬的态度。为了在下一赛季的奥运会上夺冠,结弦理所应当也必须成为日本的王者。世代交替的瞬间,谁的心情都会很复杂。这是结弦迟早必须得去(克服)解决的矛盾。

第三章 结弦与哈维尔

第八节身体状况不佳的2013年世界锦标赛

全日锦标赛之后迎来的是一个艰难的冬天。也许是第一次经历多伦多的严寒吧。结弦得了流感体力不佳,又遭遇了伤病。他三周没有上冰,基本是没有训练就踏进了加拿大多伦多的世锦赛赛场。训练不足的情况下去参加比赛时,选手会——————不,是个人都会有不安的想法,进入“真希望我能比好啊”这样的消极期望的心理状态。但是运动员本来必须要在“拼尽全力”这种决心模式下去比赛才行的。没有这种主观能动意志是比不好的。

结弦的短节目在很差的精神状态下比完,出现了失误, 位列第九。他对此非常失望,他生自己的气。我第一次看到结弦那么生气。

哈维尔短节目也没有比好,位列第七。因此他们两个自由滑都没有进入(前六名)最后一组,都是倒数第二组出场。我那时对他们两个人说:“现在什么都可能发生”。这两个人即使不进入最后一组,只要发挥得好,也能得到很好的评价。另一方面,因为他俩没能进入最后一组,一些没有达到那个水平的选手却进入了最后一组,他们有可能会紧张、振奋。所以我对他们说:“你们只要比好自己的,让后面的选手来挑战就好,成绩不会差的”。

无论是结弦还是哈维尔都积极的面对了自由滑的比赛, 两人的分数都很高。他们比完之后我坐在走廊里看最后一组的分数,我看到他们俩的名次一路上升。最后成绩,哈维尔第三、结弦第四。结弦在这种情况下能获得第四名已经很出色了,他为日本确保3个冬奥会出场名额做出了贡献。他完成了自己的使命,虽然他本人对没能站上领奖台很不甘,但结果可以说是成功的。另一方面,哈维尔首次获的世锦赛奖牌,这是西班牙人前所未有的壮举。

我的两个孩子在短节目失误之后,没有放弃而是坚持到底。我为他们这种不放弃的精神感到骄傲。

从这届世锦赛我们得到了关系到奥运赛季的重要信息。 在这里学到的是,结弦的精神层面。如何应对因伤病等准备不足的意外情况。生点小病休息个四五天是每个人都会遇到的常见情况,依靠平时的训练储备可以应付过去。但这次离开冰场三周,对结弦来说是很长的一段空白时间。犹如“前途未知、生死未卜”的心理状态下征战的一届世锦赛。

但是这样的情况也凸显了结弦的个性,结弦有一个被逼到绝境就会激发出巨大力量的开关。我认为他再次认识到自己的性格,以及在逆境中,所展现出的惊人的反击力量。

通过这次比赛,很重要的一点是了解了结弦的性格和动力。在迎来奥运赛季之际,这成为了一个重要的提示。

第三章 结弦与哈维尔

第九节类型迥异的两人产生的精彩化学反应

结弦和哈维尔,结束了和两人一起度过的赛季,深深地感受到了两个人性格上的差异。

我们参加了所有报名了的比赛,作为选手想在每场比赛上都呈现精彩的表演,但是从比赛中得到的反馈也很重要。 并非为了不断拿出最好的表现才去参加很多比赛。如果知道了如何能发挥出最高水平的方法,只参加奥运会就可以了。 但是这样的事当然是不可能。为了能在终点的奥运会和世锦赛上竭尽全力,就要经历(通往终点的)过程中的比赛。

但是结弦想努力赢得每场比赛。每一场比赛中都竭尽全力。这样的话,赛季很长,所以在赛季初始的阶段就最大限度地消耗完精力,无法在后半段赛季取得平衡了。学习如何分配精力,考虑到奥运会的团体赛和个人赛的精力分配,这也是必要的教训。

另一方面,哈维尔很了解自己的节奏,(在每场比赛中)尽多少力。知道自己不会持续保持紧张,所以赛季初会很放松。因此也可能会获得好成绩。但到了赛季后半段,他就会变得过于紧张,还不能很好地去处理(这份紧张感)。

结弦的话,可能也有受到社会媒体和大众媒体的影响吧。明明只是场状态比较低落的比赛,媒体却会很细致地写道表演很糟糕,节目不好,4S怎么样之类的。特别是45倍受关注,给结弦施加了很多压力。在6分钟练习中失败的话,结弦就越发会觉得“大家都看到我的失败了”。日本是一个媒体有着很大影响力的国家。

相反,哈维尔则全然不在意。练习中摔倒了也没关系。 (他)躺在冰上,我说“哈维尔,快站起来”,他就会盯着冰鞋,假装在怀疑是不是冰鞋的问题。真是个有趣的孩子。

俩人性格迥异是很好的事情。哈维尔很快活自在,结弦很拼命。然后这俩人就产生了精彩的化学反应。对于哈维尔来说,通过与结弦互相竞争,提高了训练时的注意力。对于结弦来说,有时过于逼迫自己的时候,哈维尔就是平和心情的一剂良药。

"Team Brian 最强!”————————结弦加入团队的这一赛季,我就是这么想的。

 Aiming for Two Consecutive Olympic Golds

 

Spoiler

In the second Grand Prix event, the NHK Trophy, Yuzuru Hanyu's performance was stunning. Since it was held in his hometown of Sendai, and in the aftermath of the Great East Japan Earthquake, Yuzuru hoped that through his exceptional performance, he could bring hope and courage back to the people of Tohoku. It wasn’t about himself; he was competing for the people of the Tohoku region. His passionate performance brought a perfect result. I think this was a great motivator. Of course, for Team Brian, winning the title meant qualification for the Grand Prix Final. Since the Olympic test event would be held in Sochi afterward, this was a competition we wanted to experience in advance.

 

There were two main purposes for participating in the Grand Prix Final held in Sochi. First, we wanted to present an excellent performance. But more importantly, the second goal was to “start becoming aware of the Olympics.” Whatever the awareness might be, we hoped that by participating in the Final, Yuzuru would experience the Olympic atmosphere, as the Olympics were soon becoming a reality. By experiencing the test event in Sochi, we hoped to trigger his awareness of the upcoming Olympics.

 

Even though it was still 14 months before the actual Olympics, we were already in the beautiful venue, breathing in the foreign air of Sochi. Products related to the Olympics had started to be sold, and we slowly began to feel, "Ah, it’s the Olympics, how amazing." In that moment, the athletes’ perception shifted from “It’s still a long way off” to “It’s almost here.” Suddenly, we realized how short this time period actually was.

 

One day before the competition, we jogged lightly along the coast. We alternated between running and walking, stretching our muscles, and chatted along the way. Yuzuru shared a lot with me. Among the things he said, the most powerful words were when he told me, “I want to become the Olympic champion in Sochi, and I also want to become the Olympic champion in Korea next time.” He didn’t wait for me to ask; he said it on his own—he wanted to win two consecutive Olympic titles.

I told him, “That sounds great.” The excitement about the upcoming Olympics in Sochi in 14 months must have inspired him to think that way. But I was very happy that Yuzuru was able to express this desire to me so openly, and I was a little surprised. At that moment, I silently promised myself that I would do everything in my power to support Yuzuru in achieving his dream.

 

At the end of December 2012, I participated in the All-Japan Championships for the first time. I had heard that the atmosphere of the competition was very intense, but I didn’t expect it to be so passionate. I was completely stunned by the high level of the top-level skaters. My impression was, “Is this really a domestic competition?” Whether in the women’s or men’s singles, the skaters who placed in the top 6 or 7 were all capable of stepping onto the world podium.

 

The performance of Daisuke Takahashi, the king of men’s singles, was fantastic, and Yuzuru also delivered an outstanding performance. In terms of results, Yuzuru won the title. For him, it was his first national championship, and I felt very proud to be there to enjoy that moment with him. Becoming a national champion in Japan is more difficult than becoming a world champion, just like in Canada and the United States.

 

Of course, there were moments when it didn’t feel easy. Daisuke Takahashi, who built Japan’s golden era in figure skating, had to give way to the new generation. Yuzuru won the title, but it seemed like he was a bit confused, and he didn’t seem truly happy from the bottom of his heart. From the opposite perspective, I’ve experienced something similar. I was a pioneer in Canadian figure skating, having won 8 consecutive Canadian national championships. But when Kurt Browning came onto the scene, a generational shift was bound to happen. After Kurt and I both retired, we worked together in our post-competitive careers. It’s a process like that.

 

Daisuke Takahashi has the charisma of a leader, a good personality, and many fans. Everyone should respect him, thank him, and admire his achievements. Even so, the moment of generational change will eventually come, and for Yuzuru to become the true king of Japan in the future, I told him, while celebrating his victory, not to forget to honor the pioneers who came before him.

 

At that time, Yuzuru had just turned 18 and might not have fully realized what it meant to carry the weight of Japan’s figure skating legacy. Because of that, I, as his coach, had to take a strong stance. To win the Olympic gold in the next season, Yuzuru must become Japan’s true champion. The moment of generational change will always be emotionally complicated for everyone involved. This is a conflict that Yuzuru would eventually have to face and overcome.

 

 

The All-Japan Championships Worth Watching

 

Spoiler

The All-Japan Championships, which determined the representative for Japan in the Olympics, took place at the end of December in Saitama. Yuzuru Hanyu had won the Grand Prix Final, and I had hoped that this victory would secure him an Olympic spot, but it didn’t happen. “OK, that’s fine. Let’s go all out and fight for it,” was my mindset at the time.

 

Yuzuru returned to Japan a bit earlier than me to adjust and prepare. Five days before the competition, I met up with him and the rest of the team. Before that, Yuzuru had been training individually with his mother and physiotherapist, Mr. Kikuchi. Unlike in Toronto, he was able to train in a quieter environment where he could focus, which was a rare opportunity.

 

In the short program of the All-Japan Championships, Yuzuru performed exceptionally well, and in the free skate, he only had a fall on his quadruple salchow. Daisuke Takahashi, who was battling through an injury to his hand, competed valiantly, and everyone was fighting for an Olympic spot. The competition was truly exciting to watch. Yuzuru dominated this fierce battle.

 

If I had been worried about athletes peaking before the Olympics, it could have caused confusion, so I chose to separate the Olympics from other competitions in my mind. Therefore, the All-Japan Championships were simply a matter of giving our best effort. Afterward, we didn’t slack off but kept the momentum going forward. Yuzuru passed through that period in an excited state.

 

By the time the All-Japan Championships concluded, it was already late at night. We had a series of discussions with the Japan Skating Federation, and we also made some requests to President Seiko Hashimoto on behalf of Team Brian: "The only person in the world who can beat Patrick Chan is Yuzuru. Please prepare these and these for him.” For example, we asked that Mr. Kikuchi, the physiotherapist, be granted an Olympic coach’s ID, that a training rest area and appropriate meals be provided, and that a translator be available. We anticipated what could happen in the unique environment of the Olympics and wanted to create the best possible setting for Yuzuru to perform at his highest level. While the Japan Skating Federation didn’t meet all our requests, we had a productive discussion.

 

When I worked with Yuna Kim, since she was the only top skater in Korea, it was relatively easy to receive special treatment. Yuna didn’t stay in the Olympic Village; she had a specially arranged hotel, and all the necessary personnel were given access passes. But Japan is different—there are many athletes who have the potential to compete for medals. So, after making some compromises, I urged the Japan Skating Federation to ensure that they could be flexible in addressing any problems that might arise on-site. Since Yuzuru would come across as somewhat spoiled if he made such demands directly, we expressed Team Brian’s requests strongly from our side. After that, I returned to Canada.

 

Yuzuru temporarily went back to Sendai, while I visited my father, who, due to illness, would be spending the winter in warm Florida. Javier returned to Spain to compete in the Spanish Championships in December. We agreed to meet in Toronto after the New Year. We all spent the New Year with our families and quietly welcomed 2014.

 

The short break at the end of the year came to an end, and upon returning to Toronto, we held our final strategy meeting. It was a "summit meeting" with me, Yuzuru, Javier, and Tracy. We shared our experience of the Olympics with them, saying:

 

“We are a team. We will be wearing the Spanish and Japanese team uniforms during the competition, standing by your sides. Your competition times might be very close, so we’ll be by the rink during the official competition, cheering for you and feeling proud of you. And remember to enjoy the Olympics.”

 

At that moment, I deeply appreciated having two young men on Team Brian. Compared to my time with Yuna, the atmosphere was entirely different. Both Yuzuru and Javier were eager to compete in Sochi, full of energy and anticipation. The sense of unity and reassurance within the team was different from when I worked with Yuna. If there were any signs of panic or unusual behavior, I could usually sense it. But both of them were perfectly fine, which is exactly the kind of ideal environment Team Brian has always worked to create.

 

 

Silent Embrace with Patrick Chan

 

Spoiler

Why did Patrick Chan perform the way he did at the Olympics? The reason lies in his inability to maintain his peak form. Last year, after the Grand Prix Final in Fukuoka, Chen lost his confidence and momentum. He no longer had the drive, and it seemed he was just aiming to complete his program without mistakes. Both he and his coach lacked the experience of competing for a medal at the Olympics. Furthermore, Chan arrived at the Sochi venue at the end of January, which was quite an unbelievable decision. He had become accustomed to competing in European events, where he would usually enter the venue and do two to three practice runs before performing. So why did he arrive so early in Sochi? He came more than two weeks before the individual competition, which was completely unnecessary. I saw reports about his "desire to get accustomed to the venue," and it was then I realized his unease.

 

After the free skate performance, I met Patrick Chan. He had trained at the Cricket Club when he was younger, and although he was not my disciple, we shared an understanding as Canadians. Before the award ceremony, while waiting, I walked up to him, and we embraced in silence. There were no words. It would have felt strange to apologize, and I couldn’t congratulate him either, nor could I say "I’m sorry" or "What a pity." So, we simply embraced without saying anything.

 

Chan was very disappointed. But it seemed different from how I felt at the Calgary Olympics. In my case, both my opponent and I had performed perfectly, and I lost by a narrow margin, so my regret stemmed from that. However, for Patrick Chan, he was blaming himself.

 

I can’t forget Javier either. He was just a little bit away from a bronze medal. Because he turned his 4S into a 3S, the last jump was marked as zero points due to the rules.

 

In reality, his 4S becoming a 3S was something we had never practiced in the competition or in training, and we hadn’t prepared a detailed plan for such a situation. I had failed to prepare Javier in advance by telling him, "If this happens, change the jump sequence." Javier is the type of skater who can’t adapt on the fly during the competition. So, the moment he turned his 4S into a 3S, I knew, "This is trouble." I had to give Javier a brief instruction to change his jump while he was still performing. My eyes were locked on him, and I was anxious.

 

If Javier had continued with his original jump plan, there would have been two traps according to the rules, where the jump would have scored zero points. In the 3F triple jump, the 3S turned into a 2S, so that was the first trap, and Javier had managed to avoid it. But for the last 3S, it should have been a double or a 2A, and Javier went ahead and executed it as originally planned. During the performance, I didn’t even realize the second trap was there. It was an unexpected "script."

 

When Javier’s score came out, I was surprised. I checked the score on the computer and then realized, "Oh no, the jump sequence violated the rule." I was really shocked. In other areas, his strong 3A had an unstable landing, and he missed a lutz jump. If he had avoided those mistakes, he would have easily secured the bronze medal. I only realized the various issues afterward and felt guilty toward Javier.

 

 

The Free Skate Without the Magical Moment

 

Spoiler

The Olympics should be a competition filled with magical moments, where countless touching moments unfold. But in the Sochi men's singles free skate, this didn't happen. It was disappointing for the audience as well. I had dreamed countless times of Yuzuru winning the gold in a completely different way, so that competition was truly regrettable. Moreover, in my mind, I imagined Javier standing next to Yuzuru on the podium, and that made me feel even sadder.

 

It was a very strange night. Even though I was the coach of the Olympic champion, Yuzuru went to the press conference, underwent drug testing, and didn’t finish until late at night, so I didn't get to see him. Javier, the Spanish team coaches, and I spent that night together, not even drinking a single drop of alcohol. Everyone was disappointed and sad.

 

When Yuna Kim won the gold medal at the Vancouver Winter Olympics, we celebrated with champagne in the hotel room, sharing our thoughts, expressing gratitude, and Yuna was moved to tears. It was a touching night. But the schedule in Sochi was so late that it was impossible to have such a celebration.

 

The next day, I finally saw Yuzuru. We drank beer with the relevant people, talking about Yuzuru's victory. Yuzuru's parents expressed their gratitude to me. Coaches couldn’t enter the area during the medal ceremony, so I watched the ceremony among the audience. Then, I returned to Toronto without even having the chance to touch or see the medal in person.

 

A few days later, after Yuzuru returned to Japan and then came back to Toronto, he showed me the gold medal. He put the medal on everyone and hugged everyone. It was his way of embracing everyone in Team Brian.

 

This Olympics was a reflection of many things, and it brought about many lessons. But as a coach, I believe I did the minimum required. The grand celebration will be saved for the next Olympic Games. Next time, it will be even more spectacular. By then, Yuzuru will be an adult, and we’ll be able to drink together. Most importantly, I sincerely hope to give Yuzuru the chance to experience an Olympic Games full of even more touching moments.

 

Chapter 5: Coaching of Team Brian

Section 1: The Composition of Team Brian

 

Spoiler

In the eight years since Team Brian was established, we have coached Yuna and Yuzuru to Olympic gold medals, and Javier to World Championship medals, creating the most beautiful harmony together. I would like to revisit the reasons why Team Brian has remained so united.

 

In the spring of 2006, I received a call from Tracy Wilson, and we decided that I would become the head coach at the Toronto Cricket Club. My first priority was to think about how to form the team. The first person I thought of was my mentor Doug Leigh and his coaching philosophy. Although he coached all the athletes, he didn’t try to do everything himself. When it came to choreography, he understood that his own level was not world-class, so he hired choreographers. If his ability in teaching spins wasn’t top-level, he would hire a specialist in that area. He used the same approach for other aspects in which he wasn’t as skilled.

 

Figure skating is not only about skating and jumping; it also requires skills in spins, footwork, and many other elements. Skaters must be able to execute all these skills with ease. Moreover, presenting a beautiful program is essential. Like Doug, I knew that I couldn’t teach all the elements myself. During my competitive years, I was very good at jumping, so I could teach jumping, but honestly, I thought it would also be fine to let other coaches handle the jumping instruction. I believed my role was to understand each athlete’s strengths and coordinate among the coaches and athletes.

 

Thus, I invited various skilled professionals to join Team Brian and work together. For choreography, I worked with world-class choreographers: David Wilson, Jeffrey Buttle, and Shae-Lynn Bourne, all based in Toronto, so we could always rely on them to create programs for the skaters.

 

For spins, I hired Paige Aistrop, an expert who had previously coached Nobunari Oda. She was always able to keep up with the changing standards of spins each year, helping our skaters achieve the highest level, "Level 4". Even when we travelled overseas for competitions, if there was something I didn’t understand, I would email Paige right away. “In this short program, this spin was rated Level 3. Could you check online and tell me what went wrong?” Paige would quickly check the spin positions and number of rotations and provide feedback, allowing us to make corrections for the free skate the next day.

 

Of course, my best partner is Tracy Wilson. Since I often accompanied the skaters to competitions overseas, Tracy, who could handle everything, became a core member of Team Brian. When I accompanied Yuzuru to a competition, Tracy would take care of Javier.

 

This is similar to running a business. To manage the whole company well, there are experts in marketing, finance, and advertising, and we hire the best talents for each area. The more talented people you can gather, the better the business will run. To nurture top skaters like Yuzuru, Javier, and Yuna, you need a system just like a top-tier company. You can’t think of doing everything yourself. Team members are indispensable.

 

In the summer of 2014, Lee Barkell joined the coaching team. He was a top coach who had developed Jeffrey Buttle into the 2008 World Champion. Although he had previously coached in a small town in the northern suburbs of Toronto, he also joined Team Brian. His expertise in jumping helped further strengthen the team.

 

With such a diverse group of coaches, when a new skater arrives, I have them work with different coaches to observe who they are most compatible with. The head coach is then decided, along with who will specialize in teaching spins, skating, and other areas, thereby creating a team of multiple coaches. For instance, Yuzuru and Javier were coached by me, but Tracy Wilson guided their skating, while Paige focused on their spins. This also includes several choreographers.

 

Of course, there are some parents who absolutely want me to directly coach their child. In those cases, we have group lessons, and after observing the situation carefully, I honestly tell them, “I will occasionally provide direct coaching, but this child actually works better with this coach and can showcase their talents more effectively.”

 

Currently, there are more than 20 coaches at the Cricket Club. Some specialize in working with younger skaters, while others are experts in specific skills. They are all outstanding coaches. Furthermore, in the eight years since Team Brian was formed, no one has left, which shows that we truly have been blessed.

 

 

Mental Control

 

Spoiler

During my time as an athlete, I received guidance from a mental coach, and I truly benefited from it. It’s because of the knowledge I gained then that, even now as a coach, I can confidently send my athletes to compete. I believe that as long as Tracy and I are there, we can fully take care of our athletes' mental well-being.

 

However, for athletes who often struggle to perform to their potential in competitions, a mental coach might become absolutely necessary. In such cases, not just anyone can fulfill the role of a mental coach. It must be someone who aligns with the team's atmosphere and is someone the athlete can truly connect with. It’s a very sensitive matter.

 

That’s why I even developed an iPhone app called peak.performance.skating. I wanted athletes to be able to use the app to maintain a calm and positive mindset. The app was developed in collaboration with psychologists and helps with image training. It provides a narrative of an athlete’s performance, skating, jumps, spins, choreography, the audience’s reactions, the judges’ evaluations, and the athlete’s posture after finishing their routine. This helps the athlete to visualize themselves performing in a real competition.

 

I’ve given this app to all the athletes on Team Brian. It was originally created for my own students, but now it’s available worldwide. Not only top athletes, but athletes of all levels experience nervousness. So, if this app can help most athletes, then it would be wonderful.

 

In fact, managing mental control is a very ordinary matter. It’s about how you prepare so that you can maintain composure during an actual competition. For example, when preparing for a presentation at work, you repeatedly review the material, press your comfortable suit, check the time, and ensure you’re fully prepared. It’s the same in figure skating. If athletes prepare accordingly in advance, they can enjoy the competition and perform at their best. This is the foundation of mental control. After that, it’s up to us coaches to pay attention to the athletes' daily training, and as long as we confirm that they’re maintaining a natural expression, everything is fine.

 

 

A Satisfied Team

 

Spoiler

As the head coach of Team Brian, there’s one thing I feel I’ve done particularly well: creating a sense of community on our rink. The people I trust, the people I learn with, and the people I work with all form a shared destiny. I believe this is the secret to the success I’ve achieved.

 

I’ve gathered a group of trusted professionals to build Team Brian. Moreover, to ensure everyone can work happily, Tracy and I often pay attention to all aspects of the work. If someone’s work is not getting the praise they deserve or if they can’t do what they enjoy, it could lead to dissatisfaction and jealousy. In those cases, if I notice something odd, I’ll have a conversation with the person right away to resolve the issue. Communication is key. While misunderstandings may occasionally arise, and conflicts between students and coaches may happen, we solve these issues through dialogue.

 

When talented athletes first join, they often train with several coaches, and then we assign the coach best suited to the athlete. The coaches who weren’t selected might feel jealous. Everyone wants to be the coach for an outstanding athlete and travel abroad for competitions. But if a different athlete comes next time, it’s okay for other coaches to take the lead. Even short-term training is fine. What’s important is communication and making sure no one feels dissatisfied.

 

All of this is like running a company: frequent conversations and creating a team where open discussions are encouraged is essential.

 

Now, when it comes to the team, what’s most important in this shared destiny is that all the coaches are part of the success of Yuna, Yuzuru, Nguyen, and Javi. When Yuzuru and Javier successfully land a quadruple jump in practice, all the coaches cheer for them. Yuzuru and Javier high-five the coaches. This boosts the athletes' motivation, so all the coaches contribute to the athlete's success. I believe the coaches also feel they are part of the success of the Cricket Club, enjoying the process of training and working together with great athletes. If that weren’t the case, it would have been impossible for no coach to leave the Cricket Club over the past eight years!

 

The Cricket Club is the best place for coaches to work. And because of that, it also becomes the best place for athletes to train.

 

Deciding on the Program for the New Season

 

Spoiler

The day after the World Championships free skate, on the day of the exhibition skate, I had a meeting with Yuzuru's team. From this point on, as the Olympic champion, Yuzuru would be surrounded by a whirlwind of ice shows, celebratory events, and interviews in Japan. I knew we would be temporarily unable to contact each other, so it was essential to have at least the minimum discussions about the next season. For instance, when would the choreography be done, and who would handle it?

 

When it came to this, Yuzuru didn’t hesitate for a moment about whether to take a break after the Olympic season, and he decided to create the new programs in April for the following season.

 

The choreography for the short program was once again entrusted to Jeffrey Buttle, while the free skate program was given to Shae-Lynn Bourne. Yuzuru expressed his thoughts on the short program, wanting to explore a style he hadn’t performed before, specifically trying a piano piece. Jeffrey and I brainstormed many ideas and incorporated Yuzuru’s suggestions, ultimately deciding to use Chopin’s Ballade No. 1 in G minor. For the free skate program, Yuzuru himself suggested he wanted to skate to The Phantom of the Opera. Shae-Lynn and I discussed how to stitch and edit the music. This season, using music with vocals was allowed, but the extent and type of vocal inclusion were very important. We played the music one piece after another on the ice, selecting which ones moved Yuzuru, and organized our ideas accordingly.

 

I could trust Jeffrey and Shae-Lynn to handle the choreography. I decided to take a break after the long Olympic season and enjoy an 18-day vacation. I told them, “Contact me if there’s an emergency, but I really haven’t had a break in a long time, and I hope I can rest properly during this time.” In reality, no one called me during those 18 days. During this time, both the short program and free skate gradually took shape. There shouldn’t be any problems. Both of them are world-class choreographers and reliable members of Team Brian.

 

Later, I watched Yuzuru’s short program, which had the potential to score the highest in the world. It might seem unbelievable, but both in terms of his jumps and his performance, Yuzuru’s execution was even better than the previous season. “The second year after becoming Olympic champion,” Yuzuru has now matured, and it’s this honed and refined experience that allows him to perfectly express this program. The first 12 seconds, although he was merely standing still, the atmosphere on the ice gradually began to build. It’s only when the athlete can release such a special aura that they have the ability to perform this program.

 

I felt the same way when I won the World Championship. The season after claiming the title, there was a sense of pride as the world champion, and when I skated, it felt different. It wasn’t because of the technical factors, but something on a mental level changed my skating. This phenomenon is now appearing in Yuzuru’s new short program.

 

As for the free skate, because we had a new choreographer, the program had a fresh feel. As the season progressed, the music arrangement could change as well. Even though it was now allowed to use music with vocals, the right degree of vocal inclusion was still being explored. Unlike ice dance, a full four-and-a-half-minute piece with vocals could become quite noisy and might not match the jumps. For sections like footwork, where the atmosphere is building, adding some vocal music to enhance the mood can work well. In particular, the vocal elements in The Phantom of the Opera music clearly distinguish it from previous programs skated by other athletes. Shae-Lynn, Yuzuru, and I all shared our opinions, taking into account the arrangement of the jumps and making some modifications along the way.

 

 

To Javier

 

Spoiler

I have a student named Javier, who is really a source of concern at times, but also incredibly endearing. Not long ago, I had him join me to give an ice-skating lecture for children. During that session, Javier showed great patience and a generous attitude toward all the young skaters, no matter their skill level. He was truly a charming coach. Even though he often makes me worry, I didn’t expect him to be so considerate toward others.

 

In Spain, figure skating is still not a widely popular sport. However, over the next four years, through his active participation, the sport’s visibility in Spain will rise. Through marketing efforts, we will gradually create the foundation where professional figure skaters can pursue skating as a career. This is another of my ventures. Additionally, Javier is very well-suited to be a coach, and I hope that one day he will be able to coach at Cricket Club.

 

 

To Yuzuru

 

Spoiler

If Javier is like a son who causes me concern but is also incredibly dear to me, then Yuzuru is like a twin brother who is exactly like the younger version of me. Every time I see you, I can’t help but think to myself, “I understand you,” and “You’re so young.”

 

However, now that I am a coach, I understand many things that I didn’t notice during my own time as an athlete. As a top-level competitor who competed around the world, I thought I was very good at managing pressure and distributing my energy during competitions. But I was wrong. When I was younger, I always tried to perform at my best during training and at all times, thinking that this would make the fans happy and that it was the duty of a champion. This was very much like Yuzuru now. Yuzuru always gives his best. Every one of the 365 days a year, he wants to deliver the most spectacular performance. But the truth is, it’s not necessary to go that far. If you always maintain peak performance, the result will be that you reach your peak during training, and then overexert yourself during actual competitions. Sometimes, it would actually be better to have a few mistakes before the competition. Only then will you reach your true peak during the competition. Of course, Yuzuru has already begun to understand this, and he will start to work on mastering the rhythm of "peak performances."

 

Yuzuru cares deeply about the people around him, so he believes that "if he can always show his best state, everyone around him will be happy." This is his kind-heartedness. However, being constantly under the spotlight for the next four years will also be quite exhausting. It’s not necessary to give everything every time. He also needs to relax and let others see his mistakes sometimes. The Japanese fans will wait for him, and they will empathize with the struggles he faces. Moreover, no matter the situation, Team Brian will always be by your side.

 

At the next Olympics, you will perform at your peak and then say, “I did it! I won!” as you make a victory gesture. I look forward to that moment. That will be the perfect conclusion for you, Yuzuru.