[2025.12.01] Echoes of Life Official Pamphlet

[Wintek]

The Official Pamphlet is the pre-tour book with key visuals and interviews.

 

CONTENT

1. Yuzuru's Message
2. Yuzuru's Interview
3. MIKIKO's Interview

 

The Official Pamphlet of Echoes of Life has 39 photos of Yuzuru:

• 21 are studio photos of Nova (including one a double page size poster)
• 4 are face close up during the interview
• 14 are from the making of and practice.

2,800 yen (USD$19), available on Axel Store.

 

PAMPHLET STAFF

 

Creative Producer: Mamoru Inagaki

Art Direction: Kosugi Koichi

Design: Hana Sasaki

Photos: HIRO KIMURA, Sunao Noto

Text:Hasegawa Hitomi

Hair and Make Up: Ryo Inagaki

Costumes: Takeshi Takahashi, Minako Orihara

Edit: Bunka Kubo

 

You can also read the translation on this link.
 

[Wintek]

*Machine translation. Inaccuracies Exist*

 

YUZURU HANU

ICE STORY 3RD

ECHOES OF LIFE

 

About the title of “ICE STORY 3rd”, I ended up starting to write the story without being able to come up with anything in particular that really came to mind.

And then, as I went on writing the story, little by little I began to think that the core of what I wanted to write was actually, maybe, “sound,” something I had felt ever since I was a child.

Sound, sound, sound……

When I thought, “Among the words connected to sound, what would make for a good resonance?” the word that came to me was “hibiki” (resonance/echo).[1]

And then, I arrived at the word “kodama” (echo).[2]

The truth is, once the title “Echoes of Life” was decided, the story I had been writing up to that point became completely unusable.

Because of that, there is the background that I rewrote it from the beginning and completed this story this time.

“Echoes of Life” is a performance title that is that important.

What is “life”?

What is “I”?

Wishing to be a hint for such boundless questions,

I wrote down this story and these programs.

“Echoes of Life”

 

Hanyu Yuzuru 

 

NOTES

[1] 響き (hibiki), literally “resonance,” “sound that reverberates.” It suggests vibration, lingering sound waves, or something that continues to echo in space or in the heart. It can also mean “impression” or “resonance” in a figurative sense, how something resonates emotionally.

[2] こだま (kodama). Most directly, it means “echo,”  the repeating of sound when it bounces back. It also carries a cultural nuance in Japanese: in folklore, a kodama is a tree spirit, often thought to live in old trees and associated with voices echoing in the mountains. So, beyond just “echo,” it could also be interpreted  as an almost mystical or poetic quality, the reply of nature, the return of sound, or the existence of something invisible yet alive.

[Wintek]

*Machine translation. Inaccuracies Exist*

 

Things like budding-------

To be born,

thinking about life,

YUZURU HANYU INTERVIEW

— Could you share how the theme and concept of Echoes of Life came to be?

 

Spoiler

From the start, I had a broad idea that I wanted to explore philosophy as a theme. As I thought about what kind of story would work, I came up with around seven ideas and eventually narrowed them down to philosophy again. It aligns with things I’ve been thinking about for a long time, like bioethics, my experience as a disaster survivor, or the fact that nearly 80 years have passed since the war. In the midst of fading memories, I wondered—what is life? From all these perspectives on life, I wanted to encompass a variety of ideas into a theme that invites philosophical exploration. That’s the concept this time.

— How did working on GIFT and RE_PRAY influence the themes or subject matter?

GIFT wasn’t an autobiography, but it was a piece where I expressed, through my existence, the value of dreams—how everyone has dreams, even if they’ve forgotten about them, and how striving toward them can give meaning to your life. On the other hand, RE_PRAY was more about exploring how to elevate something I truly love into a form of expression while conveying a meaningful theme.

When creating ICE STORY 3rd, what stood out to me was the impact of the "game" theme in RE_PRAY. I felt that people would likely focus heavily on the theme or the subject matter itself. With that in mind, I thought, if it’s just a story, it might feel unsatisfying. So I wondered, should it take the form of a medium, perhaps a book, a game, or even a town? After much thought, I decided that a novel format would be the best fit. That’s where the idea of blending in philosophy came about.

— This time, audiences can read the storybook before the performance.

For this project, rather than writing in a way that reflected my breathing rhythm, including pauses and stops, I deliberately aimed for a more literary style, like a novel, with structured sentences in a written, narrative form.

In the past, my approach was closer to assembling a collection of emotional outpourings, whether my own feelings or those of the characters—and shaping that into a story. But this time, I incorporated complete scenes and descriptions into the storyline. My hope was for audiences to experience the visuals and performance while being aware of those elements.

Of course, we’ve also worked to ensure that people who watch the performance without knowing the story can still feel something from it. But by understanding the story beforehand, you can grasp details about "Nova" (the protagonist) or the intricacies of the world itself. That’s the kind of experience I wanted to create.

That said, I felt that simply recreating what I wrote verbatim would feel too cheap or overly predictable. So, as I worked on the visuals while considering how best to express this as a skating show, I decided to leave the descriptive elements written in the text as they were. That’s why we thought it would be ideal to let audiences see the storybook first.

— How did you go about writing the story?

I wrote it by hand. I always write by hand, GIFT and RE_PRAY were both written by hand as well. I often write on loose-leaf paper or blank printer paper. While it wasn’t exactly the original idea, I’ve collected things I want to talk about or quotes from various influences in my phone’s memo app, and I tend to write based on those. Writing by hand feels more directly connected to my brain, or rather, it's easier to receive instructions from my brain that way. Also, when I type on a phone or computer, predictive text comes up, and that makes it feel like the words aren’t really mine. I don’t want to be influenced by predictive text, so I prefer to write by hand. After that, I read through it in my mind, thinking things like "this part should be cut," and gradually structure it before typing it out on a computer.

For this one, I already had a story written, but after deciding on the title Echoes of Life, I rewrote the entire story from scratch. I stayed up for three nights straight, writing by hand, typing it out, and finishing it.

— Writing the story in three days and staying up for three nights is impressive.

This time, I really wanted it to be a cohesive story. I felt like, "If I don’t finish writing it here, the image in my mind of the story will collapse." Well, there was also the deadline (laughs). I had to get it done soon.

— What did you base your writing on?

For example, with GIFT, I was influenced by the lyrics of songs that I love. In RE_PRAY, it wasn’t so much lyrics, but rather words from instrumental music and games. This time, I read about four philosophy books and five novels. I’m not really a "book person," so I only thought I could write in spoken language. The words that come out of me are pretty much like the way I speak, so I thought it would sound rough if I put that into a novel. When I write in poetry form, it’s fine, but for writing prose, I felt I needed to properly immerse myself in prose first. So, I read a few novels that I was interested in. I’m not great at following written text, so I’d listen to the narration of the books while following along with my eyes, writing down parts that I liked. Of course, this time too, I was influenced by games and lyrics.

— What kind of books did you read?

The book that influenced me the most this time was The Trouble With Being Born[1]. I also read Underwater Philosophers[2]. The philosophy of life that I studied in university, and the thoughts I’ve had since childhood about "what is life?" or "what am I?" were all woven together. While doing that, I realized I needed to study more to fully grasp it, so I studied philosophy more deeply before writing.

— You also have new programs, right?

Yes, I have a lot.

— I'm looking forward to them. Why did you decide to include so many new programs?

It kind of happened like, "This piece fits here," and then it all came together. When I was working on RE_PRAY, it was a bit like that too. To be honest, though, RE_PRAY had some moments where I was a bit nervous. Since it was based on a video game theme, it was very different from GIFT, and I thought that if I made it too much of my personal tastes, it might put off the people who had been watching figure skating until then. So, while there were many songs I wanted to use, I decided to structure the first half with game elements, and then make the second half more classical, with more traditional figure skating programs. That turned out to be the right way to express a side of myself, like the duality of life. But this time, since the story is completely new, the new programs are exactly what I wanted. Also, I didn’t have to worry as much this time. These new programs aren’t all just based on personal taste, so the songs came together more smoothly—“This program works, this song works” kind of feeling.

— How has it been working with MIKIKO-sensei and the team on the ice show?

Since RE_PRAY was a tour, there were a lot of moments where we had to make improvements, and I also realized there were many areas where I needed to evolve myself. I spent a lot of time engaging with the direction of the show, so I started thinking not only about my performance, but also about things like, "What kind of lighting would be best here?" or "What should come after this visual?" When I was creating the story, I also had to think about what I should be showing the audience, and that kind of broad perspective really grew in me.

Additionally, I think I’ve become better at relying on others. There are many moments now where I think, "This isn’t my area, so I’ll leave it to the others, trusting them with my vision and ideas." On the other hand, there are points that I absolutely can’t compromise on, so the balancing of those moments is both a challenge and a dilemma. But I think it’s something I’ve been thinking about deeply.

— The first performance of Echoes of Life is on your 30th birthday, right? Congratulations!

Thank you, though it’s not quite my birthday yet (laughs).

— How do you feel about the first performance coinciding with your birthday, and about turning 30?

Of course, I’ve been thinking about a lot of things, but first of all, Echoes of Life is about contemplating life, birth, and growth, so the fact that it aligns with my birthday feels like a destined connection. It feels a little like the start of Echoes of Life is a reflection of my own life beginning. Also, starting it on a milestone birthday—either a multiple of five or ten—feels somewhat fateful. As for turning 30, I’m transitioning from my late 20s to my thirties, so it’s just that (laughs).

 

NOTES:

[1] “The Trouble with Being Born” (French: De l'inconvénient d'être né) is a 1973 philosophy book by Romanian author Emil Cioran. The book is presented as a series of aphorisms, meditating primarily on the painful nature of being alive

[2] “Underwater Philosophers” (水中の哲学者たち) by Rei Nagai. Published in 2021, this philosophical essay explores deep and often abstract reflections on life, encouraging readers to dive into philosophical dialogue much like diving into the depths of the sea. Nagai, a philosopher and facilitator of philosophical dialogues, presents her reflections through "hand-sized philosophy," focusing on personal and intimate queries that challenge conventional wisdom. The book touches on the beauty and mystery of the world, and how philosophy helps us better understand both the world around us and our own existence. It is not about grand, neatly structured ideas but rather a more fluid, meandering exploration of questions that don't have easy answers. Nagai also conveys that these small, sometimes elusive thoughts are powerful and worthy of philosophical inquiry. Since June 25, 2025, a Philosophical Dialogue between Rei Nagai and Yuzuru Hanyu is bring published on Deep Edge Plus.

 

*Machine translation. Inaccuracies Exist*

 

How do you interpret—
A limitless canvas called the rink

MIKIKO INTERVIEW

—  How did you first encounter Echoes of Life?

 

 

Spoiler

After we finished RE_PRAY, we casually talked about themes for the new ICE STORY. During that conversation, Hanyu-kun mentioned things like “philosophy” and how he wanted “the words to leave an impression.” Hearing that, I thought, “That’s so like Hanyu-kun; it sounds like it could be really interesting,” and, “It feels different from what he’s done before, which is great.” Later, he gave me a rough outline of the story he had in mind, and then I received the full storyline.

 

—  What did you feel when you read the story?

 

Since it was written as a novel, I found it easier to read.

However, I noticed how it focused on fine details, like specific scenes or situations, with a distinct beauty in the nuances of the Japanese language. That made me think, “This is hard! (laughs)” It’s challenging from a direction standpoint. Because I read it while imagining how to adapt it into an ice show, I wondered how much of it I could effectively bring to life on the rink.

 

—  Were there specific passages that you found particularly challenging?

 

For example, descriptions like “my stomach breaks into a cold sweat.” When you’re reading it, it’s fascinating, but I had to think about how to translate that kind of expression into visuals or a performance. However, what’s even more interesting is that, more than with RE_PRAY, the way each staff member interpreted the story varied after reading it. That’s what made it intriguing, but it also took time to align everyone’s visions. With RE_PRAY, we had a similar experience, where it wasn’t until the final performance came together that we truly understood, “Ah, this is what Hanyu-kun was trying to convey.” I feel it may be the same this time.

 

—  What do you focus on when directing?

 

Usually, when directing live performances or choreographing individual pieces, I aim to make the work resonate with its creator. For example, when choreographing a song, I want the composer and lyricist to feel like their creation shines even more. The same goes for directing.

For Echoes of Life, since the creator himself is also the performer, my top priority is to capture his vision as much as possible. At the same time, I must maintain objectivity. So, for example, I try to put myself in Hanyu-kun’s mindset when he was writing, in the perspective of someone watching the performance for the first time, or in the shoes of his biggest fans. I even consider the viewpoint of someone who knows nothing about him. By shifting among these perspectives, I work to integrate them into the direction.

When I’m being objective like this, I have to set aside my own subjective views. The final result might still feel like “MIKIKO’s style,” but while creating, I completely strip away my personal bias—or at least that’s my intention.

 

—  Did you choreograph any of Hanyu’s programs for Echoes of Life?

 

I choreographed one new program and made adjustments to others. Between RE_PRAY and Echoes of Life, Hanyu-kun underwent extensive foundational dance training. He learned all the exercises that professional dancers typically do, and I think he’s been incorporating those into his daily skating training. So, when choreographing his programs this time, I felt like his body had transformed, almost as if his entire approach to movement had been restructured. That impression left a strong mark on me.

 

—  How has the process changed compared to before?
 

Last time, the focus was on how to adapt movements to a figure skater’s body. This time, it felt more like working with professional dancers. Hanyu-kun is naturally skilled at mirroring movements. Previously, he would memorize the shapes, then work hard to fit his body into those forms, even if it felt awkward at first. He likely took what he learned home and practiced intensely. This time, the process was reversed — he started by understanding how to use his body, then incorporated the shapes. I think this made it easier for him to grasp the movements this time.

 

—  What specific techniques did you teach him?

 

Really, it was the very basics. Dancers always incorporate ballet techniques, so I introduced some of those, along with stretches. There’s also a practice where you imagine balancing a plate on your palm and move your body while keeping the plate from falling. To ensure the plate doesn’t fall even when seen from behind, the back must be flexible. This training helps create a three-dimensional body. Movements are all connected—they should flow seamlessly in curves or circles. However, if a joint is stiff, the movement can become jerky. So, we worked on making all movements as smooth as possible by reducing stiffness in the joints. These techniques helped enhance his body awareness and control down to the smallest details.

 

—  It sounds like Hanyu-san is integrating even more new elements into his performances.

He told me that he had been self-taught up to now. So, I think the techniques he had been analyzing on his own—like thinking, “To achieve this shape, the body must move this way”—finally clicked for him. It felt like confirming the answers and resolving lingering questions.

 

—  This is your third time directing one of his ice shows. What is unique about the experience of directing an ice show?

Ice shows are still filled with new challenges for me. One unique aspect is that the size of the rink is always fixed, so the challenge is figuring out how to create a different visual experience within those parameters. While the fixed size is limiting, it’s also exciting. Compared to other performances, where space might be more restricted, ice shows offer a luxurious amount of space to work with. It feels like working on a canvas of infinite possibilities, and figuring out how to transform the rink visually is a rewarding challenge.

 

—  After “RE_PRAY,” you mentioned you were already thinking about what you could try next.

While working on “RE_PRAY,” I kept thinking about what might come next. Visually, I considered the possibilities I just mentioned, and in terms of the story, I felt that with “GIFT” and “RE_PRAY,” Hanyu-kun had written a lot about himself. I wondered if his next project would step away from that. Then, this time, he created a completely new story with “Nova” as the protagonist. I didn’t expect such a dramatic shift.

 

—  As a director, how do you view “Echoes of Life”?

It’s a piece with even greater showmanship potential. Until now, the focus was on how to showcase Yuzuru Hanyu as an artist and how to present figure skating. But this time, the focus has shifted to telling a single cohesive story. It feels fresh, and honestly, I feel like I’m being tested (laughs).

 

—  Following on from “RE_PRAY,” this tour covers three venues again. What is the appeal of touring?

Each venue offers a different perspective and atmosphere. The challenge is adapting quickly to each location, but that’s also the beauty of touring, the same show feels completely different depending on the venue. I want to take full advantage of each venue’s unique characteristics.

 

—  One of the venues is Hiroshima, your hometown.

It’s rare to secure the Hiroshima Green Arena. “Echoes of Life” reflects on themes like life and peace, and performing it in Hiroshima around the time when the Japan Confederation of A- and H-Bomb Sufferers Organizations received the Nobel Peace Prize feels almost miraculous.

 

— What are your thoughts about working with this team?

Every live performance, every stage production is tough in its own way, but with an ice show, the mountain you have to climb is just on a completely different scale. When I first received this original work, it felt like this unbelievably high mountain suddenly appeared before me (laughs). With such a tall mountain in front of us, there's no choice but to take it one careful step at a time. Right now, we’re still at the stage where the summit is nowhere in sight. We're all holding hands and starting to climb from here (laughs). In these two and a half hours, we have to somehow convey the essence of the work at just a glance. The underlying theme is life, something that he has always cherished, so while facing it sincerely, I have a strong sense that we’re all battling together.

— So you’re climbing a mountain where you still can’t see the summit yet.

Exactly. Starting from a place where nothing is visible, we’re finally beginning to catch just a glimpse of the summit — and once we step into the venue, it feels like we’re suddenly being pulled up all at once. That feeling of all of us moving toward it together is really fun. And I guess you could also call it rewarding. People who usually work on different projects are all gathering here at this moment. These days, there’s a trend toward doing things as quickly and efficiently as possible, minimizing costs, but for this project, we’re setting that mindset aside. Instead, it’s a work where we are deliberately choosing to face each task carefully, to take the time and effort even when it’s troublesome. That’s what "ICE STORY" is. It feels like returning to the basics, and because of that, it’s honestly very tough for me too. But that's precisely what "ICE STORY" is about. I think that spirit probably comes from Hanyu-kun’s own relentless dedication. And I believe that everyone involved in this work feels the same way.