[2026.06.01] KISS & CRY: Yuzuru Hanyu - THE STAGE 5 -

[yuzurujenn]

Info:

https://www.amazon.co.jp/dp/4868360787

https://www.amazon.co.jp/dp/4868360795

 

 

After a period of maintenance, Yuzuru Hanyu successfully led "Yuzuru Hanyu notte stellata 2026" and "Yuzuru Hanyu “REALIVE” an ICE STORY project." In this exclusive long interview, Hanyu talks about "the present" and "the future." The stunning, newly shot photos are presented in a powerful B4 size, and come with a B3 size pin-up and stickers that you can keep with you at all times! In addition, there are reports on "Yuzuru Hanyu notte stellata 2026" and "Yuzuru Hanyu “REALIVE” an ICE STORY project," as well as a report on "The First Skate" at Xebio Arena Sendai and other performances in which Hanyu has appeared. Enjoy the powerful images of Hanyu. 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

Source: https://weibo.com/6473801248/R26Ejp08F / https://weibo.com/6473801248/R27AukslG / https://weibo.com/6473801248/R25s06qtD

 

Interview: Yuzuru Hanyu

 

Spoiler

What I Gained and Learned During My Maintenance Period

 

— After your maintenance, your solo performance about one year and two months later, “Yuzuru Hanyu ‘REALIVE’ an ICE STORY project,” had also concluded. Looking back on it now, could you share your thoughts once again?

 

Hanyu: Although it was called a maintenance, in reality I was constantly confronting my body, continuously learning, and running full speed ahead the whole time. So when REALIVE ended, there really was a moment when I felt completely spent, almost as if I had burned everything out. Or rather, as if I had been filled with an overwhelming sense of accomplishment.

 

The opportunities I had to skate in front of people as a skater undoubtedly decreased compared with previous years. But looking back now, I still feel that this past year was an incredibly fulfilling one for me personally, and also an extremely dense and meaningful year.

 

— The word “maintenance” or “tuning up” tends to bring to mind ideas like “inspection” or “repair,” but that wasn’t really the case, was it?

 

Hanyu: If anything, I was charging forward at full speed the entire time. I reexamined the foundations of my body, reconsidered them, and rebuilt them. It took a very long time, and it was far from easy to bring myself into a condition where I could perform a solo show. But I believe that the changes I made and the things I thought through during that period are extremely, extremely important for my skating career going forward.

 

— For many years, you have faced yourself sincerely and honestly, continuously training your body and refining your sensations. In a sense, this maintenancemeant temporarily setting those things aside and starting over from the beginning. Did you experience fear or struggle during that process?

 

Hanyu: Yes, it was frightening. Many things, including strength training, had been built upon the accumulation of my past training. This time, however, I decided to put those things on hold and even set aside all the experience I had accumulated up to now in order to create a body for the future. Of course that was scary, but at the same time it was exciting and something I looked forward to. I've always been eager to find out just how much further I can evolve.

 

I have an ideal image of “Yuzuru Hanyu” that I am striving toward. The things I've learned and the results of my training during this period have not yet completely connected to that ideal image. But they have started to connect, little by little. So compared to this time last year, I now have a much stronger feeling of anticipation for the person I will become in the future.

 

— In what situations have you felt that things are “starting to connect”?

 

Hanyu: For example, there have been times when I wasn't consciously trying to change my jumping technique, yet people told me, “Your jumps seem a little different now.” And from my own physical sensations, I can feel changes in both my landings and my movement quality, the flexibility and extension in my body have changed.

It's not only in performance itself. When I think, “This is the effect I want to achieve, but I still can't quite reach it,” or when I feel that “I'm not in good condition today,” I can now analyze much more easily exactly what went wrong and why I wasn't able to perform as I wanted. In addition, my knowledge of body maintenance and of how to build a strong physical foundation has increased overwhelmingly.

 

— After reassessing your body and learning all of this, have your everyday movements changed as well, apart from skating?

 

Hanyu: My theoretical understanding has definitely increased a great deal. Things like the way I walk or run, I can now analyze them much more precisely, understanding that if force is transmitted in a certain way, it leads to the correct physical state. Because of that, in scenes like the running sequence in Prequel (Before the White), I was able to create the effect of truly running on land, rather than simply gliding across the ice.

 

— Since restarting your career as a professional figure skater, you have consistently held firm to the belief that you want to continue living as an athlete. At the same time, you have also continued pursuing growth as a performer and artist. Has the way these two identities come together changed for you?

 

Hanyu: I feel that my pursuit of both has deepened, and the level of what I demand from myself has risen as well. I've always believed that if I can't achieve both, then I can't truly call myself a professional. For example, in 'Happy End' from notte stellata 2026, I incorporated many contemporary dance movements, and I can feel that the vocabulary I possess for expression is steadily expanding. Even without jumps, I now have a sense that I can attract and hold an audience's attention to a certain extent. I've gained that kind of confidence. But then I find myself thinking, "If that's all there is, then wouldn't it be better just to watch a dancer?" There are so many incredible dancers in the world, and their performances can move people even more deeply. At the end of the day, however, I am a figure skater. That means my jumps, spins, skating skills and every technical aspect must be genuinely strong.

 

'Prequel' was an extremely avant-garde program for me. I integrated jumps in a way that was almost imperceptible to the audience. The spins were not presented as conventional combination spins or change-foot spins; instead, I embedded them into the step sequence itself and deliberately avoided clearly showing their ending positions. All of those things are only possible because they are built upon solid singles-skating technique. To deepen expression, technique is indispensable. You need both the kind of body development a dancer pursues for expression and the kind of body development required of an athlete. The key is how to allow those two to coexist. And I believe that only by doing that can I continue to exist as a one-of-a-kind figure skater and a one-of-a-kind performer.

 

— Bringing the conversation back to ICE STORY: in a sense, it has already moved beyond the traditional concept of an ice show and created an entirely new genre called “Yuzuru Hanyu.” How do you view that yourself?

 

Hanyu: That is certainly what I hope to create. When we were making GIFT, everyone, including myself, was still feeling our way forward. But looking back, perhaps it had already become a new genre even then. Then, during the RE_PRAY tour, we constantly held review meetings, discussing things like, "Would this part work better if we handled it differently?" We reflected together, experimented, and learned through trial and error. In the end, I feel that by the time we reached Echoes of Life, this new genre had truly been established.

 

As for Echoes of Life, there was even a point when I felt that I had already put everything I possibly could into it, almost to the point where there was nothing left to squeeze out. That's why I'm satisfied with that work. But as I continue to change, MIKIKO-sensei told me, "You can still do so many more things!" This time, for the first time, I tried the format of remaining on the ice for the entire performance, and that made me realize once again that ICE STORY can continue evolving.

 

I do have a certain pride in believing that it has become a completely new genre that transcends the framework of figure skating. At the same time, though, I also feel that it will continue to transform and develop from here on.

 

— Earlier you mentioned that reassessing yourself during your maintenance changed your physical sensations and many other aspects of your skating. Do you think those changes will influence the next work, ICE STORY 4th WHITE...?

 

Hanyu: As for the fourth installment, we're still at a stage where many things have yet to be decided, so there are still plenty of uncertainties. However, I want to carry forward the realization I gained from this performance and the feeling that "I can still do more."

 

During REALIVE, I was honestly performing with my body pushed to its absolute limits. I still wanted to refine myself further, and I felt that I should have been able to present something of an even higher technical standard. So I think that next time, I should be able to create an even better work.

 

— During your hiatus, I'm sure many fans missed you terribly and were thinking, “We can't wait any longer!” Finally, would you like to say a few words to them?

 

Hanyu: Because everyone gave me this time, I was able to learn so many things and sort through so many thoughts. If I hadn't taken this maintenance, I might have become lost, feeling that I had reached the limits of my abilities and no longer knowing where to go next. But because I had this time away, I discovered things I hadn't known before, things I hadn't been able to do before, and how I should continue learning from now on.

 

Right now, I'm in the midst of what you might call the most intense period of "growing pains." The person who is most excited to see how much further I can still grow from here is actually me. I'm incredibly excited, and full of anticipation. And so, in order to show everyone something that not only fills the gap created by this hiatus but far surpasses it, I will continue working hard from here on as well!

 

 

《Kiss & Cry》 – Mini Talk Corner

Q: What have you been really into lately?

Hanyu: Lately I've been spending my time building Heian City Story in a mobile game. Originally, I picked out a bunch of PC games to play in search of creative inspiration, but I've ended up having absolutely no time to play them. At this point I'm starting to get a little anxious, thinking, "I've got to hurry up and play them!" (laughs)

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

Source: https://weibo.com/6473801248/R276DdVca / https://weibo.com/6473801248/R2dDi3zDd / https://weibo.com/6473801248/R3mK6aQmd

 

Interview: David Wilson

 

Spoiler

— We heard that you choreographed the new program Yae no Sakura. Could you tell us about the choreographic process and how long it took?

 

David: This year, because we were collaborating with the Tohoku Youth Orchestra, I choreographed several programs using music by the orchestra's founder, Ryuichi Sakamoto. Yuzu's new program also used one of Sakamoto's pieces, originally written as a soundtrack for a television drama. At the beginning, Yuzu sent me a story he had written about the program. Then he told me, "Please choreograph it according to how you feel."

 

— The two of you working remotely over social media and online platforms also became a topic of discussion among fans.

 

David: Actually, I had originally planned to travel to Japan in January to choreograph the piece in person. But about two days before my departure, Yuzu injured his ankle. He wasn't able to return to the ice until about three weeks before the performance. So the situation ended up being that he was at the rink while I was in my living room at home, and we completed the choreography through Zoom. We've worked together that way before, but this time it went surprisingly smoothly. Of course, before that we'd already spent a considerable amount of time organizing our ideas and inspirations. The actual time we worked together was about three and a half days, roughly sixteen hours in total.

 

— What was the central concept behind the choreography of Yae no Sakura?

 

David: The story Yuzu sent me was about the path he has walked as a figure skater and the traces he has left behind. He is someone who thinks very deeply and possesses a remarkable sensitivity. He gives meaning to everything.

 

— Could you give an example of what a specific movement symbolizes?

 

David: It's difficult to point to just one example. Every movement in the choreography was given meaning. There isn't a single gesture in the entire program that is there without purpose.

 

— After watching Yae no Sakura live, what were your impressions?

 

David: Yuzu carried extraordinarily strong emotions and determination into that performance. That energy filled the entire arena and reached every corner of it. I believe every audience member felt, "He's skating for me." He wasn't forcing anyone to feel anything, yet everyone was naturally drawn in by his passion. What people saw on the ice was incredible, but in reality he had only just recovered from his ankle injury and was still skating in pain. I don't think anyone realized that. When Yuzu came off the ice drenched in sweat, he looked like Muhammad Ali after finishing a fight. (laughs)

 

— After arriving in Japan and seeing the full rehearsal in the actual venue, were there any changes made?

 

David: Yes. (laughs) The dry-ice effect was simply too strong. During rehearsal, Yuzu was practically hidden by it. Since at the actual venue you usually only get one full run-through, I always feel a little nervous whenever special lighting or stage effects are involved. So we reduced the amount of dry ice and started releasing it earlier. That way, during the actual performance, the audience could clearly see him.

 

— Have you seen Hanyu's self-choreographed program, Happy End?

 

David: It was absolutely wonderful! The work has an extremely distinctive personal character. Watching it, I felt almost as though I were watching a contemporary dance performance. Perhaps he consulted some professional dancers he knows, but to be honest, it was choreographed even better than some of my own work. (laughs) After watching it, I actually felt a sense of awe. He really is a very special person. Deep inside, he carries an extraordinary wealth of ideas and emotions.

 

— This year, Hanyu collaborated with the Tohoku Youth Orchestra. How did he look to you skating to live orchestral music?

 

David: I think he was probably a little concerned at first. For a skater like him, someone who places such importance on music, skating to a live performance naturally comes with certain worries. Most of the orchestra members were children and young people, and they were all absolutely lovely. The conductor was outstanding as well. While conducting, he would occasionally turn around to check on the skaters' movements. The quality of the performance was remarkable. It didn't sound like something performed by children at all. It was truly excellent.

 

— Could you share any behind-the-scenes stories about Hanyu during notte stellata 2026?

 

David: Yuzu takes care of everyone involved. He's always trying to maintain a positive atmosphere backstage. He was the same way with the orchestra children. He would joke around with them and make them laugh, always looking for ways to ease everyone's nerves. I think that's something very characteristic of Yuzu.

 

— In April, Yuzuru Hanyu “REALIVE” an ICE STORY was held. What are your impressions of his solo performance?

 

David: It's truly an extraordinary achievement. To skate an entire show from beginning to end by yourself is probably something no skater ever even imagined doing. I love music and listen to all kinds of pieces. Some masterpieces simply can't be edited down into competition-length programs. Whenever I come across a work like that, something I truly love but can't use myself, I often recommend it to Yuzu. Even if I can't incorporate it into my own choreography, I think that as a professional skater he might someday have an opportunity to use it. As for whether he will use any of those pieces in future performances, I don't know yet.

 

— If you have the opportunity in the future, what would you like to challenge yourselves with together?

 

David: I would love to be involved in the production of one of his ice shows. Of course, I know that many talented people have already gathered around him—choreographers, directors, and many other creative professionals. But I'm especially interested in stage design and in productions that combine skating with contemporary dance and classical ballet. Although my professional work is mainly choreographing competitive programs, I've always loved art itself. So if an opportunity arose to participate in one of his productions, I would be very eager to take on that challenge.

 

— Finally, is there anything you would like to say to Hanyu?

David: I hope Yuzu stays healthy, and I wish success for all of his future projects. Please make sure to take good care of your body. And I very much look forward to the next opportunity to work together with you again.

 

 

David's comment about Yuzu:

I have a habit of instinctively judging my own work with a very critical eye. There are very, very few skaters who can give me the kind of deep satisfaction that Yuzu does. As a choreographer, I’ve always believed that once a program is completed and handed over to the skater, it becomes the skater’s work. Because of that, I usually try to keep some distance and look at it in a detached way. But whenever I watch Yuzu perform, I’m able to relax completely and simply enjoy it. He has never once disappointed me.

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

Source: https://weibo.com/6473801248/R28eEr6eN

 

Interview: Shae-Lynn Bourne

 

Spoiler

— Could you share any memorable behind-the-scenes moments from notte stellata?

 

Shae: Yuzu was very relaxed and truly enjoying the whole process. However, in the past he would always perform highly difficult jumps like the triple Axel and quadruple jumps, but because of his injury this year, he wasn’t able to do them. It seems he carried a feeling of guilt toward the audience because of that. So I told him, “That’s not a problem at all. Of course it’s wonderful that you can perform those jumps, but that’s not the only reason people love you. Even though you couldn’t do those jumps this time, you showed everyone a completely new side of yourself, and I believe the audience was able to discover something new as well. That is also a very precious gift.”

That’s what I said to him.

 

— Through your collaboration with Hanyu, were there any things that inspired you or that you learned from him?

Shae: One of the most important things in figure skating is expressing who you are on the ice. And I learned a great deal from the way Yuzu expresses himself. Now, when I choreograph programs for active competitors, I have them listen to music and write down what they feel from it—the images and impressions that come to their minds. But not everyone is able to immediately draw out that kind of personal imagery. As we grow older, we sometimes lose the rich creativity we once had as children during the process of growing up. Working with Yuzu was a precious gift for me. I also try to share the insights and experiences I gained from him with other skaters.