[2022.09.29] Figure Skating Life Extra "Life on Ice Yuzuru Hanyu"

[yuzurujenn]

Info: https://www.amazon.co.jp/dp/4594619525 

https://x.com/fskating_Life/status/1565520538755182592

 

 

Yuzuru Hanyu has announced his professional turn and is embarking on his second skating career.

To commemorate this departure, we have compiled his extraordinary 18 years of competitive life in one book. The staff of "Figure Skating Life" look back on the achievements of this unprecedented skater through records of his growth and exclusive interviews that have been watched over by him. In addition, long interviews with those involved who have continued to support Hanyu praise his talent and efforts, as well as revealing a number of episodes that have never been revealed before. In addition to the "Hanyu Yuzuru History" written with photos and text from 2004 to 2022, it also includes the latest cuts and exclusive interviews from "SharePractice", making it a large volume, 192-page permanent edition.

 

●2004-2022 Yuzuru Hanyu History Record of struggle

●Yuzuru Hanyu Competition record

●Interview

・About Yuzuru Hanyu's "jumps" -- Tsuzuki Shoichiro, Ghislain Briand

・About Yuzuru Hanyu's "expression" -- David Wilson, Shae-Lynn Bourne, Abe Nanami

・About Yuzuru Hanyu's "musicality" -- Kiyozuka Shinya, Yano Keiichi

・Message from Skaters -- Tanaka Keiji, Yamamoto Sota, Sumoto Mitsuki, Sato Shun, Miura Yoshio

・Special Interview -- Ghislain Briand "Yuzuru, if you're happy, I'm happy too"

●Declaration of determination press conference

●SharePractice report & latest interviews, etc.

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

Source: Figure Skating Life Extra "Life on Ice Yuzuru Hanyu", pg 152-157

 

 

About Yuzuru Hanyu’s “Expression” (Part 2) - David Wilson
"Yuzu has grown into a performer with extraordinary charisma."

 

David Wilson, the renowned choreographer behind pieces like "Romeo and Juliet" and "Notre-Dame de Paris," has also been responsible for many of Hanyu’s recent exhibition programs. We asked him how he felt about Hanyu’s evolution as a performer.

 

Spoiler

— Yuzuru Hanyu recently announced his transition to becoming a professional athlete. Could you share some of your memories of working with him over the years? Maybe starting from when he first came to the Cricket Club in 2012?
"It all started when Brian Orser told me, 'An incredible kid is coming.' Until then, I really didn’t know anything about Yuzu and I had never seen him skate either. Brian had told me that he was a Junior World Champion and had great talent, but more than anything, I was really excited about the fact that he would be based in Toronto. You see, although I’ve worked with skaters from all over the world, it’s rare and special to actually be able to see someone practice regularly on the same rink."

The First Choreography: Notre-Dame de Paris

"When we first began working together, we started from the music selection. Even back then, Yuzu already had a strong sense of what music he wanted to skate to. By the way, I personally think it's a very good thing when a skater takes a keen interest in their music. In our first discussion, Yuzu said, "I want to do The Phantom of the Opera," but I was reluctant for two reasons. First, I felt that Phantom had been used quite frequently by others in recent years, although it’s a wonderful work and there are countless ways to approach it musically. The second reason was more personal. I had recently started choreographing for Patrick Chan. Phantom had been Patrick’s free program before and had become something of a signature piece for him, even though I wasn’t the choreographer, it was Lori Nichol. Given that it seemed likely Yuzu and Patrick would become future rivals, it felt a bit awkward for me to take on Phantom with Yuzu. I wanted to show respect to both skaters. So instead, I proposed 'Notre-Dame de Paris.' It carried a similar musical atmosphere and I thought that skating to it could create a comparable mood. Fortunately, Yuzu agreed to this compromise."

— What was your impression of Hanyu’s skating when he was 17 years old?
"When we first started training together, I was really excited. I even told Brian, 'This kid is really amazing. He has incredible elasticity in his skating, and he has the charisma and power of Toller Cranston.' I remember being very inspired by his talent and excited that he could do so many things, even though he was still a young boy. However, during that first year, we really struggled with building up his stamina. Because of that, making sure he properly focused on the choreography became a major challenge for me. At the time, Yuzu was also gaining a lot of attention as a rising star, so he was very determined, thinking 'I have to nail the jumps!' As a result, there were times when he couldn’t fully pay attention to the choreography of the programs."

—The first competition of the 2012–13 season was the Finlandia Trophy, right? After his free skate, he looked very exhausted.
"At the beginning, his stamina was definitely an issue. It's really demanding to perform the program exactly as choreographed. You have to move your entire body while also managing your breathing patterns carefully. At the time, it looked to me like Yuzu was trying to conserve his energy for his jumps. For example, there were moments where he was supposed to do a full rotation with his upper body, but he'd only turn it halfway. But even then, it never looked bad. Even if he showed signs of fatigue, his movements and skating were always beautiful. Still, during the competition, he couldn't perform as well as he did in practice, so I remember always complaining about something to him during those first two seasons (burst out laughing). Because I thought he could do so much more."

—By the way, what was the concept behind "Notre-Dame de Paris"?
"I wanted Yuzu to immerse himself in the story of the musical. I wanted him to feel the passion of that epic story."

—So, you didn’t mean you wanted him to literally play Quasimodo, right? (laughs)
"No, no, of course not. There's no way he could recreate the entire story on his own. What I hoped for was that he would convey the passion unique to French musicals, behind this love story involving many different characters. Not Quasimodo himself (laughs). Though honestly, at that time, it might have been a little too heavy for him."

Yuzu's longing for "Romeo and Juliet"

—And then, the following season, the theme chosen for his free skate was "Romeo and Juliet." I heard that Hanyu sent you an email asking for this song.
"Yes, he sent me a long, long email, and it was like a confession. I was really moved. I thought, how can he be so thoughtful at such a young age? Now that I think about it, he might have been worried that I would reject Romeo and Juliet again because I had rejected Phantom the previous year. After all, it’s a piece that choreographers have used countless times, and I myself had choreographed it for Sasha Cohen before. So, in the email, he clearly stated, "I really want to use this piece. I need your help." I felt that this kid is really smart and reliable, and knows what he wants to do. I even showed part of his email to Brian, and said, 'It’s a piece that’s been used a million times, but after reading this, I have no choice but to do it.'
That level of hunger... I had never met an athlete like him before. I’ve worked with many great athletes, but the hunger and strength of will that he has is unparalleled. I’ve never met anyone with such a high level of motivation, driven purely from within. Usually, with many athletes, their motivation is fuelled by external factors, such as being pushed by passionate parents, or feeling a sense of duty toward their country, things like that. But with Yuzu, none of that was necessary. All of his drive comes purely from within himself."

—So, what was the concept behind "Romeo and Juliet"?
"It's a story where all the elements are already there as everyone knows the plot of Romeo and Juliet. So aside from the fact that it's a tragic love story, there wasn't much we needed to overthink. I was entrusted with the music editing, and I remember that once we actually started choreographing, everything came together really smoothly. It made me so happy back then. Yuzu worked really hard to build up his stamina for that program, so he was able to put more effort into the choreography. At the Olympics, it wasn’t his best performance, and maybe that was frustrating for him, but it doesn’t change the fact that he still won, beating out the other competitors. And without a doubt, he had made clear progress compared to the previous year."

A Temporary Farewell — Yuzu’s Evolution

— After that, for a while starting the next season, you no longer choreographed for Hanyu-san. But since you were both at the same Cricket Club, were you still able to observe his evolution even if you were a bit distanced?
"Yes, I watched it all with great enjoyment. Jeff (Buttle) and Shae (Lynn-Bourne), who choreographed Yuzuru's subsequent programs, are dear friends of mine. I have a great deal of respect for their talent. Especially Jeff, since I had choreographed his programs for years, he feels almost like my own child. I think very highly of his choreographic abilities. Each year, I was genuinely impressed by the programs Jeff created for Yuzuru. I could also see that he was raising the bar for Yuzu year after year, and I was happy to see Yuzu being inspired by that, working hard to skate in a way that lived up to Jeff’s choreography without falling behind.
The short programs were fine, but the real challenge for Yuzu was always the long programs, mainly because of stamina issues as I mentioned earlier. However, with the arrival of Shae-Lynn, who has her own unique passion and strength, she was able to draw out that ‘extra push’ from Yuzu. Thanks to that, compared to the two seasons I spent with him, Yuzu grew stronger and stronger and became able to skate the long program fully. I think that’s a huge achievement of Shae-Lynn’s. Not only did she create wonderful programs for him, but she also helped him build the physical strength needed to fully express them. It’s something I wasn’t able to do for him.”

Another collaboration — "Notte Stellata"

— Later on, you returned to choreograph for Hanyu-san once more. "Notte Stellata" is beloved by his fans as one of your masterpieces. Can we say that it marked a new phase in your relationship?
"Exactly (looking into the distance, filled with deep emotion). I remember telling Brian at the time, ‘It's so much fun to create show numbers with Yuzu because he puts 100% of his effort into the artistic side of the program.’ So I decided to do "Notte Stellata" without jumps. Until the very end. Then he finally jumps a huge single axel, does another lap, then a triple axel. It comes out of nowhere, so it just makes you go, ‘Wow!’ doesn’t it?"

— Whose idea was that?
"It’s me. I absolutely love Yuzu’s delayed Axel, so I thought it would be best to hold off on all jumps until the end to showcase it. Suddenly, that delayed axel appears, and while you're still basking in the afterglow of, "What was that? What happened?", he does a triple axel. But it’s not just that, the contrast with the way Yuzu completely surrenders himself to the music enhances the entire effect. He truly immersed himself in every nuance of the music and followed me. I'm the type who loses myself in the music when I choreograph. For me, choreography is like weaving a magic spider web. Everything is connected and unravelling and spreading, just like life. It feels like a continuous thread, but sometimes it brings great surprises too. That’s why you need to be conscious of each moment. That’s the way I approach choreography. And Yuzu was able to follow me all the way into that state of mind. From the very first note, I could feel he was pouring everything he had into the artistic side. That’s why the jumps became even more meaningful. They’re integrated as part of the whole package. That’s exactly what I’m looking for."

— The spins in that program were also innovative, with movements like swan wings.
"Yuzu is a great spinner, with fast spinning speed and a stable axis. He spins like a top, and because he’s so flexible, he can create beautiful postures. That’s why his spins are not only dynamic but also very exciting to watch. t's also a lot of fun for the choreographer. With a skater like Yuzu who is good at spinning, it's possible to create a truly amazing "moment". When I say things like, 'Try this,' or 'How about that,' he would show me all kinds of ideas, and it was just fascinating. I remember it felt like a 'best of both worlds' process, where I thought, 'What if I try adding this to the previous position this time?' Since Yuzu can do anything, he actively participated."

— He also performed this program at the gala exhibition during the PyeongChang Olympics.
"(Again, deeply moved) I feel truly honoured. The first two years went by so quickly, and I was left with a feeling of disappointment. Not towards him, but towards the situation at the time. I felt that because I lacked the ability, I wasn’t able to properly convey to him what I wanted to express (gestures as if trying to reach for something). Do you understand what I mean? I desperately tried to reach out to him and tell him, but I just couldn't find the way. So I decided to step back and wait for him to find it (what I was trying to tell him) with those two amazing artists (Jeff and Shae). But then, some time passed and I got the chance to create something with him again. (Ahh! Looks up in the sky) What a fulfilling experience! It felt like it was worth it in so many ways, this old man here was so happy! (big laughs)"

A New Challenge: "Raison"

— After that, the two of you also created "Haru yo, Koi," which Hanyu-san performed at the gala exhibition during the Beijing Olympics. And this year, you co-created "Raison," which he performed at Fantasy on Ice. Was it difficult to choreograph to a Japanese song?
" When choreographing foreign songs, whether they have lyrics or not, I always ask the skater to explain in detail what the song is about. I can't choreograph if I don't understand the background. Yuzu, in that regard, is very good at explaining the background of a song. For 'Raison,' I had him translate the lyrics line by line, and that allowed me to understand what the artist was trying to express. That song is based on the French expression 'Raison d'être,' right?"

— The program drew a lot of attention for incorporating various new movements, like lying down on the ice during the choreography.
"Ah yes, that choreography. Yuzu approached me, saying, 'I want to do a choreography lying down on the ice,' so we tried out a lot of different things. We went back and forth, trying this and that, but we paid very close attention to the lyrics. We followed them line by line and built the choreography from there. It was very interesting. When I first heard the song, I thought, 'This has a very different vibe from anything Yuzu has done before,' and I got really excited. However, I couldn’t immediately picture what the final product would look like, and it was only after Yuzu explained everything in detail that I finally thought, 'Ah, I see!' and it clicked."

— You showed on your Instagram that the choreography sessions were conducted over Zoom, right?
"I don’t mind choreographing over Zoom. It’s one of the few good things that came out of the pandemic, it made working with overseas skaters much easier. Of course, working with Yuzu wasn’t under ideal conditions, but he can do anything (operating the equipment, etc.), so it went very well, despite my concerns. He's very talented and strong-willed, so he can do anything in any situation. Well, it took about four or five sessions, two hours each. After that, Yuzu would practice what we worked on during the session, record a video, and send it to me, and I would give feedback. That way, I could clearly see how much progress he had made by the time of the next session. That true professionalism is what makes Yuzu so great. He always knows exactly how to maintain himself at his best. There are so many skaters who just leave it up to others to think for them, but Yuzu always takes the initiative himself. That’s exactly what being a 'pro' means, isn’t it?"

"Notre-Dame" Revival

— Your relationship with Hanyu-san has evolved significantly, but did you know that he performed "Notre-Dame" for you at Fantasy on Ice?
"Yes, yes, I know (seemingly overcome with emotion). I saw the performance. Actually, he had contacted me about that piece and said, 'I’d like your help.' But it was very last-minute, and unfortunately, we couldn't coordinate our schedules in time. So Yuzu said, 'I’ll try to put it together myself, and when I've managed it, I'll send you a video.' In the end, all I could do was help him with the part he performed on stage. I advised him, 'When you come onto the stage, kneel down and try to draw inspiration from the woman singing.' I told him to make it as theatrical and expressive as possible. As for the on-ice choreography, it seems he reworked the choreography from the original old program himself. It ended up fitting perfectly with the little theatrical scene he performed live that day."

— After the show, he said he dedicated that scene to you.
"I was so moved that I was overwhelmed with tears. Truly, my eyes filled up with tears... And not just because he performed that piece. Recently, Yuzuru has sent me many heartfelt messages of gratitude. We choreographers don't usually get thanked like that. Well, I guess I’m one of the lucky ones, but I’m really touched."

 

The Presence of Yuzuru Hanyu in the Skating World

— Lastly, what do you think are the reasons Hanyu was able to become such a special presence in the skating world?
"There are so many reasons. First, his passion, his energy, and, as we discussed earlier, his motivation. Just witnessing someone so driven from within is already a powerful source of inspiration. He is someone truly deserving of the title of 'legend.' In every sport, there are figures like that. It’s not just about winning a few times, but about overwhelmingly dominating the sport and being remembered as an iconic figure for generations to come. Yuzu is that kind of presence in figure skating. That’s what he is. From now on, he won't just be remembered as 'a former champion.' There was definitely an era, the 'Yuzuru Hanyu era.' Do you understand what I mean? In any case, that's the kind of existence he is.

One more thing... I recently had the opportunity to work with him again and realized that over the years, he has grown into an incredible performer with unbelievable charisma. His charisma is so overwhelming it feels like it's pouring out of his ears and nose (with gestures). You don't often see that even among actors or musicians. If I had to compare, maybe Celine Dion or Meryl Streep. Yuzu's charisma is enough to cause a revolution in the skating world. My close friend Sandra Bezic, who herself built an era in the figure skating world as a renowned choreographer, says, 'Yuzu is a rock star. There's no other way to describe it. He’s comparable to Mick Jagger.' When he steps onto the ice, it’s as if no one else is there. He completely takes control of the space. When he starts skating, it’s as if he’s saying, 'Look at me!' even though he isn’t doing anything. It’s difficult to put into words, how and why this happens. But whatever it is, Yuzu ‘has it’. Shae-Lynn Bourne also 'had it.' Her charisma was incredible. In that sense, I think the influence she had on Yuzu went beyond just choreography. Her attitude toward practice and work, her meticulous preparation, and her constant natural charisma, I feel like spending time together allowed those qualities to transfer to him as well."

What I hope for Yuzu as a professional performer in the future

— Is there any genre or program you would like to see Hanyu explore now that he has turned professional?
"I can't think of a specific program right now. But I've always wanted Yuzu to become a true "professional performer" and to reach a level that goes beyond typical boundaries of today's pro skating.

Over the past 20 years or so, ice shows have mostly turned into 'gala-type' performances. They gather a bunch of stars, each skates their number, and then there’s the standard group number... I'd love to see something more substantial, where the entire show is treated as a work of art, with a solid concept, and Yuzu collaborates with others to create something greater. I want him to explore what figure skating can be as a true art form and what possibilities lie there. Yuzu has already perfected figure skating as a sport. It's a good thing that he wants to maintain and improve his level as an athlete, even after turning professional.
However... back when I was performing in the Ice Capades ice show from 1985 to 1991, there was a skater named Robert Wagenhoffer. He didn’t achieve great results in competitions, but in my opinion, he was one of the greatest skaters of all time. He was doing quadruple toe loops and quadruple salchows much earlier than anyone else! He was showcasing these in the shows. He would do backflips and acrobatics, and even in group numbers, he stood out. We, the skaters and choreographers, absolutely revered his skating. 

Knowing that someone with that level of technical skill and charisma existed, I would love for Yuzu to prove that such a balance is still possible. I hope he continues to explore from a broad, expansive perspective, using his incredible charisma. Rather than just skating solo programs, it would be amazing if he could create a large-scale production with Yuzu at the center. I hope that Yuzu will be successful on a global scale. I hope many people will support him financially and in various other ways, so that he can achieve what he wants to do. I'm sure that whatever he creates will be amazing, and he is worth it."
 

 

 

 

PROFILE
Born May 25, 1966, in Canada.
After retiring from competitive men's singles skating at the age of 18, he pursued a career as a professional skater. Later, based in Toronto, he became a coach and choreographer, creating programs for Olympic medalists such as Jeffrey Buttle, Kim Yuna, Javier Fernández, Patrick Chan, and Yuzuru Hanyu. Among Japanese skaters, he has choreographed for Midori Ito, Nobunari Oda, Miki Ando, Daisuke Takahashi, Mai Mihara, and Rika Kihira, among others.