[2018.09.29] Figure Skating Team Japan Fan Book 2018

[yuzurujenn]

Info: https://www.amazon.co.jp/フィギュアスケート日本代表-2018ファンブック-別冊-山と溪谷/dp/4635924823

 

[Special supplement]
2018/2019 season spectator calendar

[Special interview] Yuzuru
Hanyu
"Words of gratitude"

[Close-up report] Shoma Uno
"Unwavering belief"

[Exclusive interview]

Keiji Tanaka "Doing everything I can now"

Kazuki Tomono "Now is the time to awaken"

Sota Yamamoto "Small goals, big steps"

Koshiro Shimada "Filled with joy and hope"

Satoko Miyahara "Miss Perfect's new challenge"

Kaori Sakamoto "The Oath of an Olympian"

Wakaba Higuchi "Turning frustration into strength"

Rika Kihira "Towards a brilliant future, the beginning of a legend "

Mai Mihara "Casting a spell on myself"

Marin Honda "Gaining confidence in a new world "

Rika Hongo "Step by step, building on it"

Mako Yamashita "The birth of a new star"

 

[Return interview]

Daisuke Takahashi "Continuing the uncharted road"

 

[Special roundtable discussion]

Keiji Tanaka x Tatsuki Hino x Kawahara Hoshi

Kihira Rika x Yoshida Hina x Teshima Rika

Shun Sato x Miura Kao x Nakamura Shunsuke

 

[Hanyu Yuzuru Toronto Open Practice Report]

Brian Orser

Tracy Wilson/Jeffrey Buttle

 

[Event Report]

Colantotte Talk Show

Lombardia Trophy

Kurashiki FSC Fan Appreciation Event

All Japan Senior Training Camp RISPORT

Junior Program J SPORTS TV Program Recording Report

 

[Special Feature]

A Thorough Explanation of the New Rules for the 2018-2019 Season!

Women's Singles, Battle for the Beijing Olympics, Putting It All on the Ice - Daisuke Takahashi's Challenge

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

Source: Figure Skating Team Japan Fan Book 2018, pg 18-19

 

Coach’s Eye - Brian Orser 

Yuzuru Hanyu in Toronto – Open Practice

 

 

Spoiler

—Please tell us your impressions of the new free program (“Origin”).

 

Brian: With the rule changes this season, the men's free program is becoming a slightly different challenge for all skaters. The program length has been shortened by 30 seconds. However, I predict that this (rule change) might actually be a good thing for our team, including Yuzuru. That's because the programs we create already include complex and high-difficulty transitions. It looks like the program will have a smoother overall flow. Many senior male skaters around the world might struggle with the shortened time and the reduction of one jump, but I don’t think it will be any harder for our team’s skaters. Yuzuru's free program is complex, with spins, jumps, and step sequences alternating between transition → elements → transition → elements. Once again, Shae-Lynn (Bourne) and Yuzuru did a fantastic job. I believe it will become Yuzuru’s new masterpiece. He himself is very pleased with it. It's a dynamic and very exciting program. I’m excited to work with him on how to finish it while adapting to the new rules.

 

—Please tell us about the short program (“Otoñal”).

Brian: The short program is also a masterpiece, choreographed by Jeffrey Buttle. In recent years, I’ve completely left it up to the choreographers and Yuzuru, especially Yuzuru himself. He takes responsibility in choosing the music, and the choreography focuses more on transitions. Yuzuru isn’t satisfied with a program that just executes the required elements. Of course, the elements themselves are already superb, but he wants to go one step further with the choreography. He wants to discover a different direction. He’s taking on choreography he’s never done before. It has a grand feeling to it. Last year’s short program was also special, but I think this one will be even more incredible. Please look forward to it. It’s a very beautiful piece!

 

—How is Hanyu's current condition, especially his injured right ankle?

Brian: As for the injury, it's something he’ll always have to manage as long as he keeps skating. He's constantly receiving care and therapy, just like every other skater. He's in good shape. More than that, the fact that a skater who has won Olympic gold not once, but twice, has returned to the rink and resumed training is astounding. He’s already achieved everything. But he genuinely loves skating, he loves his new programs, and he's eager to take on new challenges. He's taking on a new challenge under the new rules, in both the short and free programs. For someone like him who loves challenges, it’s an ideal situation. His condition is improving, not quite where it was this time last year, but then again, last year was an Olympic season and he started earlier. Competitions are about to begin, and once they do, he’ll naturally shift into high gear. For him, showing that he’s in good condition is very important, and he already knows how to manage that. So I’m not worried at all. I’m confident that if he continues at this pace, everything will go well.

 

—Are there any advantages to the rule changes for Hanyu? And under the new rules, what kind of maximum score do you imagine?

 

Brian: Regarding the new GOE system from +5 to -5, our team’s skaters will need to have a precise strategy that focuses on earning +5. We don’t need to worry much about the -5, what matters is where to get the +5. In Yuzuru’s case, it's very clear. With his jumps, he can usually get +4 or +5. If +5 had existed before, he would have earned +5. The key now is to get consistent +5s on all the spins. There are six spins in total. Also, his short program contains an incredible step sequence like we’ve never seen before, which can certainly earn a +5. The free program’s step sequence is also excellent, so +5 is almost guaranteed. In short, he has many elements that can aim for +5. It’s hard to predict whether he can break his own world record. Since one jump is removed, that alone automatically reduces the score by 6 or 7 points. But if you add in the +5s, it’s possible. I think the new system favors skaters like Yuzuru, because it places more weight on his other elements, not just his quadruple jumps.

 

“The success of the quadruple Axel is extremely important to him. We are united in our effort to make that a reality.”

 

—Is he practicing the quadruple Axel?

Brian: Yes, he continues to practice the quad Axel. It’s an extremely difficult jump, but he works on it every day, and he knows what he needs to do. Right now, he’s working on the small details at takeoff and the follow-through after that. It seems like he feels he needs a bit more power. But it’s important to work on it carefully, so he doesn’t get injured. That said, we’re already seeing signs of progress. The success of the quad Axel is very important to him, and we are all united in our effort to make it happen. Just trying to attempt the jump requires being in top physical condition, but since he is determined to perfect it, we’ll continue supporting him.

 

—This season, top skaters like Medvedeva have newly joined the team. How has that influenced training?

Brian: When you’re surrounded by high-quality skaters like Evgenia Medvedeva, Jason Brown, Cha Jun-hwan, and Stephen Gogolev, your own skating naturally improves. That said, Yuzuru probably misses Javier Fernández. Javier was someone who pushed him to grow, and they had mutual respect. The environment has changed a bit, and he’ll need to adjust. Still, the attitude of the skaters here is what creates champions. And Yuzuru’s attitude is exactly what made him a champion.

The skaters all feel a sense of fulfillment from practicing together. Jason and Evgenia are new members, so they’ll be learning a lot from now on, and the training atmosphere will change. Each of them will find their own approach. I feel truly honored to have so many excellent skaters gathered here. As one team, we aim to bring out the best in everyone.

 

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

Source: Figure Skating Team Japan Fan Book 2018, pg 19

 

[I Want to Keep Pushing Forward!]
Topics: Toronto Open Practice – YUZURU Quotes
A precious talk while putting on and taking off his skates before and after ice practice!

 

Spoiler

● On the meaning of open practice sessions:

 

First, for me, it’s kind of like a deadline or a test. You know how people can’t really push themselves to the limit unless there’s something chasing them? In that sense, public practice is something where everyone comes with expectations, and within myself, I feel like, ‘I have to have things somewhat finished by this point,’ so I receive a certain kind of pressure, like a good kind of tension or energy. The other thing is, if knowing that I’ve been able to resume proper training after my injury can make those who support me a lot and those who are looking forward to the program feel happy, then that makes me happy too.

 

● On how often he changes his skating boots:

 

During an ice show, I had a conversation with Evgeni Plushenko and some other skaters about how often we change our skates. Changing skates can lead to injuries, or your jumps might not land properly, or your skating might become worse, so I don’t really want to change them too often. For me personally, maybe because I tend to jump and land cleanly using my body’s strength rather than relying on the strength of the boots, the skates don’t take much damage, so I feel like I don’t need to change them that often. I heard Plushenko didn’t change his skates for four years during the Olympics, so I’m thinking maybe I’ll be okay for four years too.

 

● On the step sequence in the short program:

Jeff, who choreographed it, was really satisfied with the step sequence, so I feel very confident performing it. It’s near the end of the program, and I think it leaves a strong impression, like a choreographic step sequence. I want to put my whole heart and soul into it.

 

● On the free program length:

 

The free program (being 30 seconds shorter) feels kind of crammed in, but I didn’t expect it to be written with such a big headline (in the news article) (laughs). But I think everyone feels the same way. The junior skaters probably feel something similar. It’s like we’re skating junior programs. It’s actually pretty tough. It's great to be young (laughs). Lately, it’s really hard. (laughs) I’m starting to feel changes in my body. My body now is completely different from when I was doing 'Romeo and Juliet,' so I’ve been thinking lately that I really need to approach training with more consideration.

 

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

Source: Figure Skating Team Japan Fan Book 2018, pg 20

 

Coach’s Eye - Tracy Wilson
“He is someone who always strives for the top. Even when it involves risk, he keeps aiming higher.”

 

Spoiler

—How is Hanyu’s current condition?

Tracy: What I feel is that he has come to understand what he wants to do, mainly in the technical aspects. My role is to help him find where to exert his strength. That includes balancing on the blade and working to stabilize his technique.

 

—How is his injured right ankle?

Tracy: From what I’ve seen, the injury doesn’t appear to be affecting his performance or placing any limits on him. You can tell by looking at the quality of his jumps and the kinds of jumps he chooses to perform. There were absolutely no bad signs in his skating. So, I felt he was at 100%.

 

—Have the rule changes this season had any impact on Hanyu?

Tracy: Not especially. Yuzuru doesn’t have any weaknesses (laughs). The change in the GOE scoring range from +5 to -5 should work to his advantage. Many of his elements have already reached a level beyond the previous scale. Before, the narrower scoring range made it hard for that to stand out, but from my perspective, this new rule benefits him.

 

—Hanyu is aiming to land the quadruple Axel. How is that progressing?

Tracy: Yes, he’s practicing it. One interesting thing about coaching Yuzuru is how something you thought was impossible suddenly becomes possible. Watching the way he trains is fascinating. His genius-level creativity shows not only in his skating but also in how he approaches technical challenges. He’s working hard on the quad Axel, so I'm excited to see how it progresses.

 

—His free program ("Origin")’s step sequence felt infused with Plushenko’s energy while still being distinctly Hanyu. What’s your impression of his step sequence this year?

Tracy: I think this step sequence is a testament to his talent. Even after jumping, he still has that much energy left. He has the ability to use his edges well to perform difficult turns, and he does so in perfect harmony with the music. This makes his step sequences unpredictable, both artistically and technically. He’s very emotional and always trying something new. He rarely repeats the same thing. His creativity as an artist makes that possible. But that’s not something you can do with jumps, since jumps require strict precision. But with step sequences, you can play around.

 

—What’s the most difficult part of this season’s free program?

Tracy: We’re still in the stage of refining the program, so it’s hard to say yet. But I feel that he’s now jumping the quad loop quite easily and consistently. Before, the Salchow and toe loop were solid, but he had just started working on the loop, and the Lutz came last. What I always pay close attention to is how well he maintains his energy throughout the program, and how he balances the technical and artistic aspects. On top of that, how he can find room to “play.” That may be his biggest challenge under the new rules. The shortened performance time means he has less time to fully express his artistry, another of his strengths.

 

—Hanyu mentioned that he's now able to enjoy skating and challenge himself creatively, free from the pressure of “having to deliver results.” How do you perceive the change in his mentality?

Tracy: Over the past few years, I think he’s been challenging himself to push his scores higher technically. We didn’t feel he needed to add more quads, but he wasn’t satisfied. He kept aiming further ahead, even if it meant taking risks. He never chose an easy path just to increase his score. He was extremely serious about it.

 

There are very few athletes with his level of ability and talent who also have that much respect for the technical aspects of the sport. And just as few who face their responsibilities with such seriousness. That’s probably why he can skate so freely now. But who knows how long that will last?

Yuzuru is Yuzuru. He may be saying, “I’m free from the pressure” now, but a few months from now, he might be back to his old self again. He’s always someone who aims higher. For now, let’s just enjoy watching him.

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

Source: Figure Skating Team Japan Fan Book 2018, pg 21

 

Choreographer’s Eye - Jeffrey Buttle
"This program is also a journey of looking back on his skating life."

 

Spoiler

—When you first heard the title of the music, what kind of program did you want to create?

Jeff: I talked with Yuzuru about the music around the beginning of summer. When he told me the title of the piece, the first thing I wanted to know was what this music meant to him. Because this came from within him. The title (Otonal in Spanish) translates into English as “Autumn,” but he told me it was “like a retrospective.” So, we decided to base the story of the program on that theme. It became a program where we looked back on many things that have happened in his life so far and developed it with various memories in mind.

 

—What is the highlight of the program?

Jeff: I think it's the way it expresses the passage of time. It begins with the image of him looking back at a photo album, expressing a moment of reflection on the past. It’s also a 'journey' that looks back on his skating life. And at the core of it all is the idea of a 'dream.' It also feels like returning to the 'beginning.'

 

—How did the rule changes affect the choreography?

Jeff: Yuzuru wanted to first focus on successfully landing his jumps. That would allow him to relax and enjoy the program more in the second half. How skaters respond to rule changes varies, but my approach is to stay open and cooperate with his ideas.

 

—How did you feel when Hanyu won back-to-back Olympic golds in PyeongChang?

Jeff: I was overwhelmed. Because it had been an incredibly difficult season for him. Leading up to the PyeongChang Olympics, he hadn’t been able to train the way he had wanted. To be honest, it was not a situation an ordinary skater could overcome. It was a challenge that only someone with the mental and physical strength of a true champion could get through. Seeing him pull it off in PyeongChang was truly moving. I was overwhelmed with emotion and proud of him.

 

—What conversations did you have with Hanyu while you were working on the choreography?

Jeff: I thought that the expression in this program had to come from within him. It had to be his story. We talked about that before we even started the choreography. On the first day we began working on the ice, we confirmed what "autumn" meant to him. I had my own ideas, so I told him, “To me, autumn has this kind of meaning,” but then his idea was completely different. I said, “Wow, I never imagined it that way!” (laughs)
So we went forward based on his vision. We had a lot of discussions at the beginning, and ideas just kept coming.

 

—In the early years of his career, you were the one deciding the choreography direction. Now, it seems he decides it himself.

Jeff: Yes, and I think that’s a wonderful thing. When I was competing, as my career progressed, I began to choose my own music too. It’s the same for him, and it's a sign that he's taking responsibility for his own career. Over the years, he’s become more confident in making decisions, and that confidence is reflected in his active participation in choreography. I respect skaters who come in with a song they want to skate to. It means they’re investing themselves fully in the program. Choosing your own music makes you put 110% of your soul into it.

 

—He said he chose this music because Johnny Weir once skated to it. Since you competed with Johnny during your own career, what are your thoughts on that?

 

Jeff: I had the opportunity to skate with Johnny this off-season in Fantasy on Ice, and we talked about that. He gave us a lot of advice, which we took into account. Since Yuzuru chose the music because Johnny had skated to it, Johnny felt very honored. He was very supportive when it came to choreographing this program.