[2025.01.25] Xinhua News - 30-minute conversation with 30-year-old Yuzuru Hanyu

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.01.25

 

Source: http://www.news.cn/world/20250125/4efcbf22b5ec483ab436c4d625833c96/c.html

 https://baijiahao.baidu.com/s?id=1822188315593959174
Archived: https://web.archive.org/web/20250125065107/http://www.news.cn/world/20250125/4efcbf22b5ec483ab436c4d625833c96/c.html

Info: https://x.com/XHJapanese/status/1866271612300923303

 

 

Reporter's Notes: 30-minute conversation with 30-year-old Yuzuru Hanyu

Xinhua News Agency reporter Qian Zheng and Yang Zhixiang

(Interviewed on Dec 18, 2024)

 

I met Yuzuru Hanyu at a filming base in the northwest of his hometown, Sendai. Away from the ever-changing lights and shadows of the ice, and without the dazzling costume, the two-time Winter Olympic gold medalist in men’s singles figure skating sitting across from me appeared as simple and approachable as a neighbour boy.

 

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Hanyu recently celebrated his 30th birthday and launched his second solo tour, "Echoes of Life," on his birthday. This is the third installment of his solo ice performance series "Ice Stories," following "Gift" and "RE_PRAY," where Hanyu himself serves as both the performer and the executive producer.

 

Unlike his previous solo ice shows, which featured only two or three new routines each time, "Echoes of Life" consists of 12 major performances, most of which are new. Through these pieces, Hanyu is able to tell a grand story that seeks to answer the profound question, "What is life?" He has been contemplating life ethics since childhood and even studied related courses during university. He has woven his philosophical interests and thoughts on the "meaning of life" into this self-scripted, self-directed, and self-performed "Ice Story."

 

Hanyu explained, “When I express myself, figure skating is still the first and foremost medium. Because I’ve always used skating, it feels as natural to me as speaking. This way, it’s closer to expressing what I really want to say.”

 

Since announcing in July 2022 that he would no longer compete in figure skating competitions and instead pursue a career in professional figure skating, Hanyu has devoted more time and energy to expressing himself through his skating programs. He said, “When I was competing, I had to complete jumps to earn points. I was always thinking about elements like footwork and the number of rotations, while also considering how to match the music. Now that I have more freedom, I focus on whether the program expresses the essence of the music and what I most want to communicate."

 

His pursuit of expression has made figure skating much more than just a sport for Hanyu. "When I create a program, I don’t think about it solely from a figure skating perspective but as a form of expression. I incorporate many different elements and try to absorb content that I find cool and beautiful," he explained.

 

Without the constraints of competition, he has even experimented with improvisational performances. While all three of his "Ice Stories" were created in collaboration with a top Japanese choreographer, Hanyu believes that truly identical performances cannot be replicated. "When trying to express genuine emotions, improvisation is better," he said.

 

However, he admits that it’s very difficult to express himself freely. He aims to create new and original movements, but the movements he is most skilled at, those deeply ingrained in his body, unconsciously sneak into his routines. Moreover, he says that figure skating is different from track sports. Even with a simple hand movement, the feet will slide, so sometimes, even if he wants to perform such a move, it is not easy to do so.

 

Yet, pushing beyond what’s easy and reaching uncharted territory is what this prince of figure skating, who has broken 19 world records and achieved two Grand Slams and a Super Grand Slam, relentlessly pursues.

 

He told reporters that he now practices about five hours a day on average, sometimes up to six hours, with one day off per week. This is a higher training volume than before. In competitions, a program lasts no more than 4 minutes 30 seconds to 4 minutes 40 seconds, but now he must perform for over two hours continuously. This requires not only muscle strength but also lung capacity.

He trains for explosiveness using weights like barbells and dumbbells, works on building his endurance and focus, and practices breathing techniques, facial expression management, and core strength required for his two-and-a-half-hour performances.

 

His schedule is packed with almost no complete rest days. He constantly thinks about the content of his performances and engages in imagery training. On the afternoon we interviewed him, he had to face five media outlets for a total of five hours. Even on such a busy day, he was thinking about training afterward. He mentioned that he still enjoys playing video games, but with his increased training load, he doesn’t know what to do on rest days anymore.

 

Technically, his skills are on par with current competitors, his expressiveness has reached perfection, and his physical strength is also impressive. However, regarding the various speculations about whether he will compete in the 2026 Winter Olympics, Hanyu stated that he has no plans to return to the competitive arena.

 

"Now, I can finally pursue the figure skating expression I want to see first, skating, jumping, spinning, and so on. When I skate now, the people around me are those who truly want to see me skate, who hope to see me skate. I’ve finally arrived in a world where I can express what I want to express, skate the way I like, and perform skating that I think looks beautiful and fantastic, and receive praise for it. As for going back to competitions, I’m not interested."

 

Without the direct standards of judges' scores and the value of medals, this professional figure skater says the expectations of the audience are the driving force behind his continuous efforts. The atmosphere at his ice shows and the enthusiasm of the audience serves as his criteria for evaluating his own work.

 

Hanyu said that it is precisely because the audience always comes to watch his performances that he can keep pushing himself. If he were alone, he wouldn't be able to convey his thoughts to anyone, and such so-called expression would have no value, becoming something hollow. But when there are people to receive his message, and they also expect his performance, that becomes his motivation. "So, I now place great importance on conveying my thoughts to the audience."

 

Rather than the size of the audience's cheers and applause, Hanyu cares more about the warm atmosphere of the event. "The audience who comes to watch my performances doesn’t focus on whether I succeed or fail, win or lose, they are simply there to enjoy my performance," Hanyu said. "In moments like this, I can truly feel the enthusiasm of the audience, and they are deeply immersed in my story and program. That’s my criterion for evaluation. Because I’m skating for everyone."

 

It is precisely because of this desire to skate for others that Hanyu often says, "No matter what, I will keep working hard, even if it shortens my life. Otherwise, I won’t be able to accept it." He will repeatedly bow and thank the audience near the end of each performance, even when he is exhausted and struggling to catch his breath. He will also remind the audience to be careful on their way home after the show.

 

In the past, Yuzuru Hanyu imagined that turning 30 would make him feel like an "old man." However, after the birthday performance for "Echoes of Life," he told reporters that if he were to think in terms of baseball or soccer, 30 would mark the period when experience, feeling, and skills begin to reach their peak.

 

As he said during the interview, “I do see 30 as a milestone year, but for me, it’s just a simple repetition of December 7th for 30 years. Goals and dreams change every day. For instance, when ‘Echoes’ starts, I focus on performing well in that, but once it ends, I move on to pursue something new.”

 

In a sport like figure skating, where athletes often retire from competition by 30, most would transition to other roles behind the scenes. But for Yuzuru Hanyu, turning 30 may simply mean he’s one year older. His name may still be associated with many “firsts” in the future.

 

[yuzurujenn]

Machine translation of the video broadcast:

 

 

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Interviewer: Let's begin today's interview.

Hanyu: Please take care of me.

 

I: Likewise. Recently, I attended the first day of your "Echoes of Life" performance in Saitama, and I was deeply moved by the show. It was truly wonderful.

H: Thank you.

 

I: The majority of today's questions come from your fans. First, though it's a bit late, I still want to wish you a happy 30th birthday.

H: Thank you.

 

I: Now that you've turned 30, do you have any birthday wishes you’d like to achieve or plans for the future?

H: Of course, I think 30 is a milestone age, but in my heart, there’s nothing particularly special about it. It's just the 30th time I’ve experienced December 7th. Goals and dreams... those things change every day. For example, when “Echoes of Life” starts, I think about performing well in “Echoes.” Once “Echoes” ends, I’ll work hard on something else. So, it's not because I turned 30 that there’s something special.

 

I: So, you just always do your best to complete the task at hand.

H: Yes.

 

I: And then challenge the next thing.

H: Yes.

 

I: Since you switched careers, have you been able to dedicate more energy to improving your expressiveness? Also, compared to the limitations of competitive programs, do you find ice shows easier to express your ideas and enjoy figure skating more?

H: Rather than saying I enjoy figure skating, I’d say that when I want to express myself, figure skating is still the number one way I do it. Since I've always used figure skating this way, I feel like I can control it like I would with language. So, rather than thinking about how figure skating might develop or whether it can express a certain idea, it's more about thinking about what I want to say. Also, in terms of expression, I’ve invested more time. When I was competing, I had to complete jumps to get points. I was always thinking about things like the structure of the steps, the number of rotations, and how to match the music. Now, because I have more freedom, I think about whether the program reflects the music and what I want to express the most.

 

I: In the past, there were objective criteria like the judges' scores and medals. Now that these standards are no longer there, how do you judge your work?

H: It’s still the atmosphere of the audience at the performance. It’s not about how loud the cheers or how big the applause are. Honestly, the audience standing and cheering is not as clear as in the real competition. So, beyond that, it’s the warm atmosphere at the scene. In those moments, I can truly feel the passion of the crowd. The audience is deeply immersed in my story and performance, and that's my standard for evaluation.

 

I: So, you still rely on the audience's reaction?

H: Yes, because I’m still skating for everyone. In Japanese, the kanji for “expression” is written as “表に現す,” which means to express something in front of someone and convey it to them. So if no one is there, I can’t convey my ideas to anyone. In that case, it wouldn't really count as expression. So, now I value a lot the fact that I’m able to transmit my thoughts to the audience.

 

I: We just talked about expressiveness. Is your training now the same as before? How has it changed since your competitive days?

H: The practice time itself has increased, and I've been doing a larger amount of practice. In competitions, the performance was at most 4 minutes and 40 seconds, but now I have to perform for over two hours continuously. In this sense, muscle strength and lung capacity have become important as well. I’m recognizing figure skating training from a completely different perspective and practicing based on that.

 

I: How many hours do you train every day?

H: On average, about five hours. It can go up to six hours, and I rest once a week, or sometimes not at all.

 

I: Physical endurance is still essential.

H: Yes, physical endurance is necessary, and also concentration. Being watched by the audience continuously puts a lot of mental pressure on me. It’s not just about performing for two or two and a half hours; I put a lot of my thoughts into it. There’s a world in the performance that only I can express. So, mentally, it can be challenging, like losing focus or having my brain stop working due to exhaustion. I make sure to train my technique and endurance so that even when I’m tired or can't think clearly, I can still express my inner feelings.

 

I: Specifically, what kind of training are you doing now?

H: Of course, I use weights. But I’m not a weightlifter, so I don’t use extremely heavy weights. I generally use a 75 kg barbell and dumbbells up to 26 kg in each hand. But this is for explosive power. Along with that, I need endurance, so I also train the breathing techniques needed for skating for two and a half hours and how to manage the pace distribution during the performance. I also focus on core strength during performances.

 

I: Your technique has not declined, and your physical strength is impressive. Do you have any plans to return to the competition scene?

H: No. Now, I can finally pursue the figure skating expression I want to see first and foremost, whether it's in the skating, jumping, spinning, and so on. When I skate now, the people around me are those who truly want to watch me skate and hope to see me skate. Although I try not to act too willfully, I have finally reached a world where I can truly express what I want to express and skate in the way I like. The skating I find beautiful and wonderful is also well-received by everyone. As for returning to competition, I’ll pass.

 

I: Are all the programs in your ice shows choreographed by you?

H: It depends on the program. Most of the programs so far have been choreographed to fit the music. However, in this show Echoes, there is a program within Poem (eclipse/blue), where I skated to a Japanese poem and the piano piece Gate of Steiner. These two programs are improvisational performances. I perform based on the atmosphere of the venue and my emotions at that moment, with no predetermined choreography.

 

I: So, each performance changes?

H: Every time is different. In fact, doing exactly the same thing is impossible. Sometimes you may feel that your performance on the first day is very good, but on the second day you may feel that it is very bad. It’s scary to expose my inner feelings so openly, but I believe that some expressions can only be conveyed in the moment. It’s precisely because it’s improvised that it can be expressed. With this mindset, I take on the challenge.

 

I: That’s quite different from competitions, right? Competitions always repeat the same routine.

H: Yes. Since you need points, you have to calculate everything. Of course, expression is based on calculation. The calculation is supported by technique, which transforms into expression, but when you want to express genuine emotions, I think improvisation is better.

 

I: When choreographing a program, what difficulties have you faced and how did you overcome them?

H: When creating a program, no matter what, there will always be movements I’ve learned in the past and choreographies from programs I’ve performed before mixed in, because they’ve been deeply ingrained in my body. For example, when creating moves, I might think, “Ah, this is similar to the choreography from ‘SEIMEI,’ or this is from ‘Heaven and Earth.’” So I struggle to create new, original movements, but it was always easy to mix in moves that I was good at. While showing off the movements I’m good at beautifully, I also try not to think of them purely from the perspective of figure skating. Instead, I try to absorb those cool, beautiful elements I’ve seen and make them more unique. But it’s very difficult. Figure skating has steps, which is different from dancing on land. I had never really considered before how figure skating is different from dancing on land. Even with something as simple as hand movements, your feet have to move as well because you’re skating. So sometimes, even if I want to do a certain move, it’s not easy to pull off.

 

I: Many of the new programs in “Echoes of Life” are related to the idea you mentioned earlier about creating original content, right?

H: Yes. Actually, some choreography was created by MIKIKO (Mikiko Mizuno), and for some others, I asked someone from the ELEVENPLAY team who is skilled in hip hop dance to choreograph hip hop movements. I didn’t approach it from a figure skating perspective, but rather as a form of expression, integrating many different things. When creating the program, I always want to showcase something good, something great.

 

I: You’ve participated in many major competitions in the past. Now, with ice shows, I imagine you face a lot of pressure. How do you cope with that pressure and maintain your best state?

H: I still haven’t handled the pressure well. I still feel a tremendous amount of pressure every time, my hands and feet trembling. My heart races, and I feel very scared. In the past, I fought alone, though I had a lot of staff helping me, and many sponsor staff supporting me. I felt like I was challenging the competition with their support. But now, the environment in which I skate is something created by many people working together, so I have a sense of reassurance, knowing that everyone is helping me create something, and it's definitely going to be okay. This sense of reassurance feels like skating together with the staff. As for the audience who come to watch my performance, they are not focused on whether I succeed or fail, whether I win or lose. They simply come to enjoy my performance. I can feel their enthusiasm as soon as I start skating. With their support, I am finally able to complete the performance.

 

I: You have always been working hard, and people always get the impression that you're constantly challenging yourself, striving to surpass your limits. What motivates you to keep working so hard?

H: I think it’s because of the expectations of the audience. I often think that because the audience always comes to watch me perform, I’m able to push myself. After all, if a person is working alone, even if they want to convey something, it has no value if there's no one to receive that message. It would become an empty thing. So, having an audience to convey my thoughts to, and knowing that they’re looking forward to my performance, that’s my motivation.

 

I: You have captivated the audience with many amazing performances. It seems like Chinese fans especially like programs like Hope and Legacy and Notte Stellata. What are your three favorite programs? Could you share the reasons?

H: Choosing my three favorite is tough. 'From Russia with Love' was my turning point. Although it’s a program I performed when I was 9 years old, it contains the childhood version of myself that I have always cherished throughout my growth and pursuit of my dreams. So, first, 'From Russia with Love'. I can't decide. The second one is SEIMEI. SEIMEI is the most classic program that made many people notice me, and it is also a program I cherish. As for the third one... it’s all so important, it’s difficult to choose. There are also exhibition programs. But I’d say Notte Stellata is important. When I perform this, I can’t avoid thinking about the earthquake. During the 2011 Tohoku earthquake, I performed White Legend, a piece with Swan Lake as its theme. So "Swan Lake" is a very important motif in my mind. When I perform Notte Stellata, I will skate with the wish to purify everything, including earthquakes. And also, 'Haru yo, koi.'

 

I: Do you have any plans to perform live for fans around the world? Are there any particular countries or regions you’d like to visit, or any plans to perform in China?

H: Currently, I don’t have plans to perform elsewhere. A lot of people, including many fans from China, come to Japan to watch my ice stories, and I’m really happy about that. I’ve always thought Japan is a wonderful place, and I want to continue promoting it. If my ice performances can be an opportunity for people to realize that Japan is a great country, I’d be very happy. That’s my strongest feeling now.

 

I: It sounds like the team here is very strong, so it’s hard to imagine performing elsewhere, right?

H: Yes. Also, for example, in Helsinki, during the 2017 performance of Hope and Legacy, it was the same. The atmosphere at the venue that day, the energy of the location, the weather, all of these elements were immediately apparent when everyone arrived at the competition site. I believe these factors definitely influenced my performance on the ice. When I pay attention to these details, I strongly hope that everyone can watch my performance in Japan.

 

I: You’ve been training late into the night.

H: Yes.

 

I: Chinese fans are very concerned if you’re getting enough sleep. Is it okay?

H: It’s okay. I do have a time difference when it comes to sleeping compared to everyone else, but I believe sleep is very important. Also, when I skate, although expression is very important, there are many places where I have to jump in the process of expression. And I think that completing the entire performance with grace and power is what truly becomes expression. I think that to achieve this, I must get enough sleep, and I've been working hard on it.

 

I: What do you usually do on rest days, or when you’re not ice skating? You’ve mentioned before that you like to play video games.

H: I do like games, but recently the training has been intense. On rest days, I honestly don’t know what to do. I keep thinking that I must practice. Of course, since the ice stories are ongoing right now, I’m always thinking about the performance, doing image training. But I also tell myself I must practice, I have to practice.

 

I: It sounds like your schedule is almost always packed.

H: Yes, I rarely have a completely rest day. On days like today (when I’m doing an interview), I still think that I need to train when I go back. I feel like I’m always planning what I need to practice each day while living through it.

 

I: You have such a slim physique, and many girls envy it.

H: Thank you.

 

I: But you can do several quads (in one program). What kind of food do you usually eat to achieve this?

H: I don’t really pay much attention to food. I think it's best to eat what you want, but performing an ice story does cause me to lose weight. Really. The performances I’m doing now are very physically demanding and burn a lot of calories. So by continuing to practice, I naturally lose weight. However, about a month before starting the ice story, I stop eating sweets, and I don’t drink soda like Dr. Pepper or Coke.

 

I: Do you have a favorite Chinese dish?

H: I like dim sum, dumplings, and mapo tofu.

 

I: Do you like spicy food?

H: I’m not very good with spicy food, but I really like mapo tofu. As for other Chinese dishes, I love them, and I think they taste great.

 

[Yuzuwinnie]

  On 2/6/2025 at 2:08 PM, yuzurujenn said:

Automatic translation of video broadcast:

 

 

  Reveal hidden contents

Interviewer : Let's start today's interview.

Hanyu : Please take care of me.

 

I : Likewise. Recently, I attended the first day of your performance of “Echoes of Life” in Saitama, and I was deeply moved by the show. It was truly wonderful.

H : Thank you.

 

I : Most of today's questions come from your fans. First of all, even though it's a bit late, I want to wish you a happy 30th birthday.

H : Thank you.

 

I : Now that you've turned 30, do you have any birthday wishes you'd like to fulfill or plans for the future?

H : Of course, I think 30 is an important age, but in my heart, there’s nothing particularly special about it. It’s just the 30th time I’ve experienced December 7th. Goals and dreams… those things change every day. For example, when “Echoes of Life” starts, I think about performing well in “Echoes.” Once “Echoes” is over, I’ll work hard on something else. So, just because I’m 30 doesn’t mean it’s anything special.

 

I : So you always do your best to accomplish the task at hand.

H : Yes.

 

I : And then challenge the next thing.

H : Yes.

 

I : Since you changed careers, have you been able to devote more energy to improving your expressiveness? Also, compared to the limitations of competition programs, do you find that ice shows are easier to express your ideas and to enjoy figure skating more?

H : Plutôt que de dire que j'aime le patinage artistique, je dirais que lorsque je veux m'exprimer, le patinage artistique reste mon principal moyen de m'exprimer. Comme j'ai toujours utilisé le patinage artistique de cette façon, j'ai l'impression de pouvoir le contrôler comme je le ferais avec le langage. Donc, plutôt que de penser à la façon dont le patinage artistique pourrait évoluer ou s'il peut exprimer une certaine idée, il s'agit plutôt de réfléchir à ce que je veux dire. En outre, en termes d'expression, j'ai investi plus de temps. Lorsque je faisais des compétitions, je devais effectuer des sauts pour obtenir des points. Je pensais toujours à des choses comme la structure des pas, le nombre de rotations et comment correspondre à la musique. Maintenant, comme j'ai plus de liberté, je réfléchis à la façon dont le programme reflète la musique et à ce que je veux exprimer le plus.

 

I : Autrefois, il y avait des critères objectifs comme les notes des juges et les médailles. Maintenant que ces critères n'existent plus, comment jugez-vous votre travail ?

H : C'est toujours l'ambiance du public pendant la représentation qui compte. Ce n'est pas la force des acclamations ou l'ampleur des applaudissements qui comptent. Honnêtement, le public debout et qui applaudit n'est pas aussi évident que dans une vraie compétition. Au-delà de ça, c'est l'ambiance chaleureuse qui règne sur scène. Dans ces moments-là, je peux vraiment ressentir la passion du public. Le public est profondément immergé dans mon histoire et ma performance, et c'est mon critère d'évaluation.

 

I : Donc, vous comptez toujours sur la réaction du public ?

H : Oui, parce que je skate toujours pour tout le monde. En japonais, le kanji pour « expression » s'écrit « 表に現す », ce qui signifie exprimer quelque chose devant quelqu'un et le lui transmettre. Donc si personne n'est là, je ne peux pas transmettre mes idées à qui que ce soit. Dans ce cas, cela ne compterait pas vraiment comme une expression. Donc, maintenant, j'accorde beaucoup d'importance au fait de pouvoir transmettre mes pensées au public.

 

I : Nous venons de parler d'expressivité. Votre entraînement est-il le même qu'avant ? Comment a-t-il évolué depuis vos débuts en compétition ?

H : Le temps d'entraînement a augmenté et je m'entraîne davantage. En compétition, je devais performer pendant 4 minutes et 40 secondes au maximum, mais maintenant je dois performer pendant plus de deux heures sans interruption. Dans ce sens, la force musculaire et la capacité pulmonaire sont également devenues importantes. Je considère l'entraînement de patinage artistique sous un angle complètement différent et je m'entraîne en fonction de cela.

 

I : Combien d’heures t’entraînes-tu chaque jour ?

H : En moyenne, environ cinq heures. Cela peut aller jusqu'à six heures, et je me repose une fois par semaine, ou parfois pas du tout.

 

I : L’endurance physique reste indispensable.

H : Oui, l'endurance physique est nécessaire, ainsi que la concentration. Le fait d'être constamment observé par le public me met une pression mentale importante. Il ne s'agit pas seulement de jouer pendant deux heures ou deux heures et demie, j'y mets beaucoup de mes pensées. Il y a un monde dans la performance que je suis le seul à pouvoir exprimer. Donc, mentalement, cela peut être un défi, comme perdre la concentration ou avoir le cerveau qui s'arrête de fonctionner à cause de l'épuisement. Je m'assure d'entraîner ma technique et mon endurance pour que même lorsque je suis fatigué ou que je n'arrive pas à penser clairement, je puisse toujours exprimer mes sentiments intérieurs.

 

I : Concrètement, quel type de formation suivez-vous actuellement ?

H : Bien sûr, j'utilise des poids. Mais je ne suis pas haltérophile, donc je n'utilise pas de poids extrêmement lourds. J'utilise généralement une barre de 75 kg et des haltères jusqu'à 26 kg dans chaque main. Mais c'est pour la puissance explosive. En plus de cela, j'ai besoin d'endurance, donc j'entraîne également les techniques de respiration nécessaires pour patiner pendant deux heures et demie et comment gérer la répartition du rythme pendant la performance. Je me concentre également sur la force de base pendant les performances.

 

I : Ta technique n'a pas baissé et ta force physique est impressionnante. As-tu prévu de revenir à la compétition ?

H : Non. Maintenant, je peux enfin m'adonner à l'expression artistique que je veux voir, patiner, sauter, tourner, etc. Maintenant, quand je patine, les gens autour de moi veulent vraiment me regarder patiner et espèrent que je réussisse bien. Même si j'essaie de ne pas agir de manière trop égoïste, je suis enfin arrivée dans un monde où je peux m'exprimer et patiner comme je l'aime. Je pense que le patinage que je trouve beau et merveilleux reçoit également de bons retours du public. Quant à retourner à la compétition, je pense que je vais passer mon tour.

 

I : Est-ce que tous les programmes de vos spectacles sur glace sont chorégraphiés par vous ?

H : Cela dépend du programme. La plupart des programmes jusqu'à présent ont été chorégraphiés en fonction de la musique. Cependant, dans ce spectacle Echoes, il y a un programme intitulé The Poem for Everyone's Souls , où j'ai patiné sur un poème japonais et la pièce pour piano Gate of Steiner . Ces deux programmes sont des performances improvisées. Je me base sur l'atmosphère du lieu et mes émotions du moment, sans chorégraphie prédéterminée.

 

I : Donc, chaque performance change ?

H : Chaque fois c'est différent. En fait, faire exactement la même chose est impossible. Parfois, on peut avoir l'impression que sa performance du premier jour est très bonne, mais le deuxième jour, on peut avoir l'impression qu'elle est très mauvaise. C'est effrayant d'exposer mes sentiments intérieurs aussi ouvertement, mais je crois que certaines expressions ne peuvent être transmises que sur le moment. C'est justement parce que c'est improvisé que cela peut s'exprimer. C'est avec cet état d'esprit que je relève le défi.

 

I : C'est assez différent des compétitions, non ? Les compétitions répètent toujours la même routine.

H : Oui. Comme il faut des points, il faut tout calculer. Bien sûr, l'expression est basée sur le calcul. Le calcul est soutenu par la technique, qui se transforme en expression, mais quand on veut exprimer des émotions authentiques, je pense que l'improvisation est meilleure.

 

I : Lors de la chorégraphie d’un programme, à quelles difficultés avez-vous été confrontés et comment les avez-vous surmontées ?

H : Quand je crée un programme, quel qu'il soit, il y aura toujours des mouvements que j'ai appris dans le passé et des chorégraphies de programmes que j'ai déjà exécutés, car ils sont profondément ancrés dans mon corps. Par exemple, quand je crée des mouvements, je peux penser : « Ah, ça ressemble à la chorégraphie de SEIMEI, ou ça vient de Heaven and Earth. » J'ai donc du mal à créer de nouveaux mouvements originaux, mais il a toujours été facile d'y intégrer des mouvements dans lesquels je suis bon. Tout en mettant en valeur les mouvements dans lesquels je suis bon, j'essaie aussi de ne pas les considérer uniquement du point de vue du patinage artistique. Au lieu de cela, j'essaie d'absorber ces éléments cool et beaux que j'ai vus et de les rendre plus uniques. Mais c'est très difficile. Le patinage artistique comporte des pas, ce qui est différent de la danse sur terre. Je n'avais jamais vraiment réfléchi auparavant à la différence entre le patinage artistique et la danse sur terre. Même avec quelque chose d'aussi simple que les mouvements des mains, vos pieds doivent également bouger parce que vous patinez. Alors parfois, même si je veux faire un certain mouvement, ce n'est pas facile à réaliser.

 

I : Beaucoup des nouveaux programmes de « Echoes of Life » sont liés à l’idée que vous avez évoquée plus tôt concernant la création de contenu original, n’est-ce pas ?

H : Oui. En fait, certaines chorégraphies ont été créées par MIKIKO (Mikiko Mizuno), et pour d'autres, j'ai demandé aux professeurs de l'équipe ELEVENPLAY, qui sont experts en street dance, de chorégraphier des mouvements de street dance. Je ne l'ai pas abordé sous l'angle du patinage artistique, mais plutôt comme une forme d'expression, en intégrant beaucoup de choses différentes. Lorsque je crée le programme, je veux toujours mettre en valeur quelque chose de bien, quelque chose de génial.

 

I : Vous avez participé à de nombreuses compétitions majeures par le passé. Maintenant, avec les spectacles sur glace, j'imagine que vous faites face à beaucoup de pression. Comment faites-vous face à cette pression et maintenez-vous votre meilleur niveau ?

H : Je n'ai pas encore bien géré la pression. Je ressens toujours une énorme pression à chaque fois, mes mains et mes pieds tremblent. Mon cœur s'emballe et j'ai très peur. Dans le passé, je me battais seul, même si j'avais beaucoup de personnel pour m'aider et beaucoup de sponsors pour me soutenir. J'avais l'impression de défier la concurrence avec leur soutien. Mais maintenant, l'environnement dans lequel je patine est quelque chose créé par de nombreuses personnes qui travaillent ensemble, donc je me sens rassuré, sachant que tout le monde m'aide à créer quelque chose et que tout ira bien. Ce sentiment de réconfort me donne l'impression de patiner avec le personnel. Quant au public qui vient voir ma performance, il ne se préoccupe pas de savoir si je réussis ou si j'échoue, si je gagne ou si je perds. Il vient simplement pour apprécier ma performance. Je peux sentir leur enthousiasme dès que je commence à patiner. Grâce à leur soutien, je suis enfin capable de terminer la performance.

 

I : Vous avez toujours travaillé dur et les gens ont toujours l'impression que vous vous lancez des défis en permanence, que vous essayez de dépasser vos limites. Qu'est-ce qui vous motive à continuer à travailler si dur ?

H : Je pense que c'est à cause des attentes du public. Je pense souvent que parce que le public vient toujours me voir jouer, je suis capable de me dépasser. Après tout, si une personne travaille seule, même si elle veut transmettre quelque chose, cela n'a aucune valeur s'il n'y a personne pour recevoir ce message. Ce serait un message vide de sens. Donc, avoir un public à qui transmettre mes pensées et savoir qu'il attend avec impatience ma performance, c'est ça qui me motive.

 

I : Vous avez captivé le public avec de nombreuses performances incroyables. Il semble que les fans chinois apprécient particulièrement les programmes comme Hope and Legacy et Notte Stellata. Quels sont vos trois programmes préférés ? Pourriez-vous nous en dire les raisons ?

H : Choisir mes trois préférés est difficile. From Russia with Love est un tournant pour moi. Bien que ce soit un programme de l'époque où j'avais neuf ans, il a une signification profonde pour moi. Il représente mon moi d'enfant, que j'ai toujours chéri en grandissant et en poursuivant mes rêves. Donc, tout d'abord, From Russia with Love. C'est difficile de choisir, mais le deuxième serait SEIMEI. SEIMEI a été un programme pivot qui a permis à de nombreuses personnes de me remarquer. C'est l'un des programmes que j'apprécie. Quant au troisième... tout est si important qu'il est difficile de choisir. Mais je dirais Notte Stellata. Quand je l'interprète, je ne peux pas m'empêcher de penser au tremblement de terre. Lors du tremblement de terre de Tohoku en 2011, j'ai interprété White Legend, une pièce dont le thème était Le Lac des Cygnes. Donc "Le Lac des Cygnes" est un programme très important pour moi. Quand je présente Notte Stellata, je patine avec le souhait de tout purifier, y compris les tremblements de terre. De plus, Haru yo, Koi est également important pour moi.

 

I : Avez-vous prévu de vous produire en live devant vos fans du monde entier ? Y a-t-il des pays ou des régions que vous aimeriez visiter en particulier, ou envisagez-vous de vous produire en Chine ?

H : Actuellement, je n'ai pas prévu de me produire ailleurs. Beaucoup de gens, dont de nombreux fans de Chine, viennent au Japon pour voir mes performances sur glace, et j'en suis vraiment heureux. J'ai toujours pensé que le Japon était un endroit merveilleux, et je veux continuer à le promouvoir. Si mes performances sur glace peuvent être une opportunité pour que les gens réalisent que le Japon est un pays formidable, j'en serais très heureux. C'est mon sentiment le plus fort en ce moment.

 

I : On dirait que l'équipe ici est très forte, donc c'est difficile d'imaginer performer ailleurs, n'est-ce pas ?

H : Oui. Par exemple, à Helsinki, lors de la représentation de Hope and Legacy en 2017, c’était pareil. L’ambiance sur le lieu ce jour-là, l’énergie du lieu, la météo, tous ces éléments étaient immédiatement apparents lorsque tout le monde arrivait sur le site de compétition. Je crois que ces facteurs ont définitivement influencé ma performance sur la glace. Lorsque je prête attention à ces détails, j’espère vivement que tout le monde pourra regarder ma performance au Japon.

 

I : Tu t'es entraîné tard dans la nuit.

H : Oui.

 

I : Les fans chinois sont très inquiets de savoir si vous dormez suffisamment. Est-ce que ça va ?

H : It’s okay. Even though there’s a time difference, I think sleep is very important. During the performance, expression is crucial, but there are many parts where you have to jump. I think that in order to perform beautifully and powerfully, I have to complete the performance in its entirety. For that, I have to make sure I get enough sleep, and that’s what I’m working on.

 

I : What do you usually do on your days off or when you're not skating? You've already said that you like to play video games.

H : I like the games, but lately the training has been intense. On the rest days, I really don't know what to do. I always tell myself that I have to train. Of course, since the ice stories are going on right now, I always think about performance, about training in image. But I also tell myself that I have to train, I have to train.

 

I : It seems like your schedule is almost always busy.

H : Yes, I rarely have a full day off. On days like today (when I'm doing an interview), I still think I have to train when I come back. I feel like I'm always planning what I have to practice each day while living it.

 

I : You have such a slim physique, and many girls envy it.

H : Thank you.

 

I : But you can do several quadriceps (in one program). What kind of foods do you usually eat to achieve this?

H : I don't really watch my food. I think it's best to eat whatever I want, but doing a full ice story is making me lose weight. It really is. The performances I'm doing now are very physically demanding and burn a lot of calories. So as I continue to train, I naturally lose weight. However, about a month before I start the ice story, I stop eating sweets and I don't drink soda like Dr Pepper or Coke.

 

I : Do you have a favorite Chinese dish?

H : I like dim sum, dumplings and mapo tofu.

 

I : Do you like spicy food?

H : I'm not very good at spicy food, but I really like mapo tofu. As for other Chinese dishes, I love them and find them delicious.

 

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GOODS / ALIGATED@yuzurujenn for having translated Yuzu's lyrics (plus I can still translate them into French     ) : plus we always learn about WHO Yuzu is (I suspect he loses weight during his show) and, of course, nothing about his private life which should remain so, I just saw that you published this video in the video section   , especially since he takes care of himself and thinks about REST   . 

Also these last ECHOES OF LIFE will be   produced