Miscellaneous Translations Compilation Thread

[yuzuangel]

18 minutes ago, sweetwater said:

Interview with Yuzu after his performance during MOI:

How do you feel now after performing your program?
-Actually, I was very tensed. After all, I myself have a deep attachment to the program, so it took enormous courage to perform it from the beginning even if it was a shortened version because I didn't want to ruin good memories. So I was pretty much tensed. However, in the end, I could deliver a performance that I could feel good to have performed it, so I am very happy.
-Next year, I will do my best to make it a good year for those who support me as well, and ultimately for myself, to be able to do what I want to do,  to satisfy myself, to show what I can do to the full, in as much competition as possible.

 

Thank you very much. It was Hanyu senshu.
-Thank you very much. Wish you a happy new year!

 

[sallycinnamon]

2 hours ago, glilikoi said:

Calling it a confession is really misleading, as you'd expect from Fuji TV... It's just longer segments of the interview filmed just after MOI. I wish we could have seen some more recent footage, since I think Yuzu's mindset has probably already changed since then, but this interview is still pretty good.

 

I'll do a very rough translation below, I'm sure someone will do a more careful one later. Sorry for any mistakes there may be! 

 

Q. 'Were you able to sleep yesterday?'

A: I tried to not look at anything, but (not really). To be honest, I couldn't really remember the performance, since I was just (focusing on) giving all I had, and it's difficult to express now.. But to be honest, I felt regretful and I had a feeling of loss.. While also feeling that I was able to put out there what I really needed to. With these kinds of thoughts, I spent the night without being able to sleep much. 

 

Q: 'Yesterday you said your thoughts were chaotic, but were you able to get your thoughts in order during that night?'

A: I think today is already different. I was able to enjoy a very special time during MOI, to perform a program that feels special to me. And the contents of that performance as well.. Recently I've been repeatedly making mistakes on 3A, not being able to do it beautifully, but even despite that, there was a moment of feeling a bit like 'I'm back'. So now I feel just a little bit happy because of that.

 

Q: 'Why did you choose to perform Seimei?'

A: Well, I felt the pressure of absolutely not wanting to harm this program (with a bad performance). But I also wanted to get this program a bit closer to its 'complete form' with live music, so I'm glad I was able to try it out. 

 

Q: 'So this performance became one step in the evolution of Seimei?'

A: Well, it'll be good if it did. My excitement (from the performance) hasn't cooled yet, but it will. And when I suddenly go back to being just one person 'Hanyu Yuzuru', there is a fear that I won't be able to stand up/move on.. So I turn to various things for support, I think many things and many people are (going through the trouble of) supporting me, and I rely on those people. First I want to stand up on the ground/ice (not sure if he first says 'ground' by mistake or if this is some idiom I don't understand). 

 

Q: 'How do you feel about confronting the public image of 'Hanyu Yuzuru'/is there tension with the public image and yourself'?

A: Sometimes it gets to a point where I'm confused/don't really know what's what. But I don't really think I project any falsities, I'm basically being myself. Of course as a member of society, as just another person, there are standards/moderations one must respect, and I think I normally do the same things that any person would need to do. But I do think this is myself/how I really am, and I'm very particular about/fixated on a lot of things, so there are times when I'm on the verge of losing control/my thoughts get chaotic. But I think this is just how 'Hanyu Yuzuru' is. 

 

Q: 'I think the pressure on you is sometimes excessive/too much. Are there times when you feel like you're being crushed by that?'

A: I feel like I need to be cornered by something, if I'm going to do something then I never want to do it halfway. Like today at practice, I felt very tired, and for the first time in a long time I felt scared to go out there and skate, scared to perform in front of everyone, but when I decide I'm going to do it, I'll do it with all I have. That's 'me' essentially. There are times when it seems like I'll get crushed, probably also times when I do get crushed, but I'll still try to set it aside, to take the burden (and keep going). That's how I feel most of the time. 

 

//A lot of the things he says here are kind of concerning/sad, but I think it's largely because it's so soon after his disappointing performance in the FS. I'm pretty sure he's already been able to process many of the difficult things he talks about here in a constructive way. 

 

Also I found it kind of interesting that Yuzu uses the word 社会人 (shakaijin) about himself here. Literally 'society person', it's a word that doesn't really have an equivalent in most other languages. According to the dictionary definition, it means 'working adult; full-fledged member of society' - basically in Japan, someone who works full time and is not a student, part-timer, housewife, etc. It's a pretty narrow definition. It's true that Yuzu has a position as a company employee (as well as multiple other contracts) so it's not false in any way, but it just feels weird to me to think of him as a  社会人 somehow. This is completely OT, just something I personally thought amusing.

 

[yuzuangel]

20 hours ago, glilikoi said:

I'm going to do a rough translation of the second interview segment broadcasted today. Sorry if someone has already done this!

 

After the introduction, the narrator states that Yuzu was trying to look ahead despite the difficult defeat at Nats.

 

Y: Right now it feels like I've gone through a series of disasters, or from bad to worse.. (the idioms he uses here are 七難八苦  'seven difficulties and eight pains', originally a Buddhist phrase; and  泣き面に蜂  'bees on a tearful face', which is similar to 'adding insult to injury' - I think it's a nice figure of speech). I don't think I've been this tattered since my Novice days - I'm really worn out. But it's not just because I lost - I gave it my all and still couldn't make it, and that was kuyashii and painful, which is why I'm tired now. But I still have time to recover, to recover even a little bit. I'd like to whip my body into shape as soon as possible. 

 

Q: After losing to Nathan etc, how does it feel to go from 'being chased' to 'chasing'? 

A: Well, what I was really happy about was that Shoma was always being told he was 'Hanyu's successor', and I think this gave him a lot of pressure too. If I made mistakes, it would be described (in the press) as a 'crushing defeat'. So there was this huge pressure on both sides. What if this situation was reversed, 'if Shoma won then wouldn't something change?' - I did also think about this. But then he did win, and nothing changed - neither Shoma or myself. I guess this is our natural stance/attitude, we have that kind of relationship. So I felt a bit relieved. I could still think that I can be 'Yuzu-kun' for Shoma. And because 'Yuzu-kun' is not that weak, I still need to continue being cool/doing my best. I do still think I want to become someone Shoma wants to chase and win. So I'll keep on doing my best. 

 

Q: But you are still someone who everyone in the world wants to chase after. 

A: Well, but I feel really kuyashii and pathetic. I feel the pain of not being able to bring the results I wanted, and the pain of not being able to give a good performance. I've been constantly haunted this season (by failure/frustration). Well, probably not just this season, somehow there is always a feeling of もやもや (I can't really translate this word because there's too many possible translations - it can mean feeling gloomy, frustrated, depressed or uncertain, and I don't really know what exactly Yuzu means here, so I think it's better to leave it up for interpretation). When skating, there are things that make me think 'ah, it's so hard'.. Well, although this isn't a request to the gods, I would like to work hard and properly, to use various means/sources of power - and as long as I keep greedily working hard, I think someday there will be a moment where that hard work is rewarded, even if it has to be a miracle. So while waiting for that, I want to continue feeling this pain, too. 

 

Q: Has your previously stated pre-season goal of wanting to be the 'strongest version of yourself' changed? 

A: No, it hasn't changed at all. Well, this is going back to talking about the present moment, but.. Stephane Lambiel really consoled me this time. He's a very good friend to me. In ice shows too, he's always been very kind to me, since a long time ago. Well, this happens every time I lose in a competition, but kind people like that will always say stuff like 'It's okay since you're already a legend' to me. That 'there's meaning in the things you do, in you just being here'. But being told that is painful in itself. These are only glories of the past.. When I fail*, I can't think of myself as someone amazing at all. When I'm told that I'm already a legend, that just makes me feel all the more like my current state is no good. Like I don't want to become a relic of the past. I want to keep moving.  

 

(* This is one part I wasn't 100% sure of - maybe a native speaker could confirm? Did Yuzu mean 滑る as in 'skate' or as in 'fail/bomb' here? )

 

18 hours ago, Umebachi said:

 

OK, here is my interpretation of what he is trying to say... a bit long.  In reference to your * query: in this context, I think he meant "skate" rather than "fail" (slipped on ice).  My understanding is that when he skates... (and here pauses for reflection) he doesn't feel that he is all that special, but when he hears others say that "he is a legend" makes him tense up (grit his teeth, kuuu) with the thought that this (his skating) is not good enough (to be called a legend).  To me, he is telling us that we shouldn't be lowering our standards just because we think he's a legend.  We have to remain true to our core principles and not allow such sentiments cloud our judgement... 

 

He communicates in a very Japanese style - not through logical construction of thoughts revealing cause and effect - but rather by conveying all shades of emotional nuances.  It's difficult to translate into English for this reason: to convey this sense, it requires a much longer discourse on his intonation (how he says things, including the thoughtful pauses), and a sweeping description of that emotional landscape that he is painting for the audience.  Hence, his choice of the word moya-moya もやもや to describe his feeling is so colourful and provocative - for me it brings to my mind the misty fog clinging over the dark pine trees on a steep mountainside - typical sumie style.  Moya means mist in Japanese, not the light and wispy kind, but the foreboding kind that you find hanging over dark forests.  And it describes that feeling of frustrating, lack of clarity, like a blind man struggling through such a landscape... 

 

And as you know, he is also expressing all this in these interviews because he wants to capture these evanescent moments in words before they are forgotten, so that he can reflect and later analyze more objectively about his own state of mind.  A true student of Human Sciences!    

 

[yuzuangel]

3 hours ago, sweetwater said:

In an interview given after FS, he said that his priority in making the new costume was to make sure it would not ruin the image of the program in everyone's memory too much since people have seen the footage of PyeongChang over and over again in many occasions and have a strong impression of it. So the costume had to have some affinities with the older one but be able to make people recognize the difference at a glance. It is not clear who chose the color, but he said that in that costume he feels not just strength but a bit of brightness and elegance.

https://www.sponichi.co.jp/sports/news/2020/02/09/kiji/20200209s00079000388000c.html

When I saw the new costume for the first time, the first thing that came to mind was young leaves, I mean, the real ones, not the name of this color. The young leaves are a symbol of spring and life, but I think it is also a symbol of a starting point, origin. Going into this competition, he chose to be completely true to himself even if it could make him vulnerable. He went back to what he truly loved and believed since when he was a child. Whoever chose the coloring, I think it suits SEIMEI 3.0 well in that sense as well.

 

I also think of what he said about SEIMEI's Stsq in the talk show held during FaOI 2018 tour. He said that he had an image of him (or Seimei) running through a bamboo grove and plants and flowers sprouting and growing on his trace. 

 

27 minutes ago, glilikoi said:

The S-Park interview segments with Yuzu are pretty good.

 

 

I don't have time to do a full translation (I'm pretty sure someone will sub this later), but some points I thought were interesting: 

 

- He brings up multiple times that sound/music is really important for his performance as a whole. Eg. says that the opening notes of Chopin help him enter the word of the music differently from any other program. Later he states that being able to do jumps and spins in sync with music is like happiness for him, and being very particular about that is the essence of 'his own' skating. He says this is the case 'especially with the short program', kind of implying that one of his main problems with Otonal was probably that he found it was difficult to perform the elements in sync with the music. 

- He talks about how he was scared to perform these programs because of their legendary status - he was worried about how they would be evaluated/received. But as he gradually got into performing them, he felt that the music/sound really helped him regain the image he needed. Later he says that as he was doing these programs, he realised 'ah, this is really my figure skating; this is the kind of figure skating I should aim for'. So he wants to work towards Worlds with these programs, striving to show an even better version of his figure skating. 

- He feels kuyashii about FS. Says he was able to show his worldview to an extent, but not as much as he wanted to. There are things he wants to be able to show/express still better, and that's what he emphasises more than just becoming 'stronger'. 

- Performing Seimei 3.0 was tough because the music was sped up, and he wasn't completely used to the new tempo yet. 

- Cramming so many jumps into 20 secs wasn't really calculated. It just ended up like that because he wanted to put in a good axel from steps as a single element to get high GOE; then he thought it'd be cool if he could put in a flip from steps as well, as if it were just a continuation of the steps. He also wanted to be able to focus properly on the second half. 

- He isn't sure of the FS layout for Worlds yet, it might be the same or different. He intends to continue practicing 4A, but it's difficult and he can't say directly if he can do it. The layout will take shape as he practices in the coming weeks. 

- In the final short clip, he says that he's happy he chose to do figure skating. Although there were misses in the FS, the short felt fun. He feels accomplished and refreshed now. He also says there is nothing like figure skating when it comes to being able to express himself.  

 

I think this interview is nice because it confirms a lot of the things about his mindset we have been discussing here as well. It seems he's really focusing on himself and his own identity as a skater now. I think it's a very good sign for the future! It sounds kind of liberating to hear him talk like this.

 

[yuzuangel]

1 hour ago, glilikoi said:

Someone on twt already did, there are links on the previous page 

 

//Actually I'm too tired to focus on my work so I might do a line-by-line translation anyway, I'll edit it here in a bit. Also I noticed the fsnanchara account didn't do a full translation, they just pointed out the translation was lacking.

//So here's a more detailed translation. It's still pretty rough so please forgive me for any mistakes. 

 

1:36-

 

Y: Figure skating is something you can do on your own in a huge rink, where everyone kindly focuses on watching just you. I think that's what's really special about it. In other sports, I don't think anyone pays as much attention to just one person. If I were doing another sport, I also think I could not express what I want to express to the same extent. That's why I think figure skating is really special, and why I love figure skating. 

 

7:00 - 

 

Y: A lot of people have said to me, 'I felt encouraged when I watched your skating', or that they received some kind of happiness from it, and being told things like this is what motivates me to continue skating, I think. It's what makes me want to continue skating til the end/to pursue what I've started to its conclusion. 

 

7:50 - 

 

I don't think anything about this season is particularly different from the usual. I'm being called a challenger a lot, but.. I'm always chasing after the strengths of other skaters and challenging them. So I always think of myself as a challenger, and that applies to last year's and this year's world championships too. 

 

8:38 - 

 

I find it enjoyable to try answering to people's expectations. But.. the times I'm unable to do that are very frustrating and hard. In order to achieve that goal (of fulfilling expectations), I also need to accumulate a lot of practice and training. It often feels like a struggle, but I think that if I can overcome that struggle, I may be able to give a performance that fulfils people's expectations again. Because I'm able to think this way, it's enjoyable. So for me, I think it's like my mission/duty in life, and I'd like to see that mission through to the very end. 

 

[yuzuangel]

Not a translation, but thought this transcript belonged somewhere:

 

4 minutes ago, fyere0 said:

 

Just for a bit of happiness on a sad day today, I've transcribed Camden's comments below for anyone who wants to copy-paste translate. (Just edited out most of the times he said 'like' excessively. xD)

 

Interviewer 1: I have to imagine it's probably a little bit of a confidence-booster to hear Yuzuru Hanyu compliment your triple Axel.

 

Camden: Yeah! [laugh] Oh my gosh, I remember, first off, after that short, I was on top of the Moon. I was like, "Wow, I just scored 89 points in my first senior Grand Prix! I don't know what to do with my life." And then next thing you know, I have [the] conference and I'm sitting next to someone that - I remember when I was Juvenile, watching him at a Grand Prix Final, win. And I'm sitting next to him and I'm in second place - of course there was like a 15-point gap because he is God - [laugh] But it was like, I'm in the same room with him, in a conference with him, I'm sitting next to someone I looked up to, and just hearing that he respected me to some extent was - it was mind-boggling. And seeing him again at Four Continents, it was good to see him because I felt less of a fanboy and more of a friend to him, because since after Canada he's kind of been really nice to me and I feel more comfortable with him. Like at events I can see him, and - first thing we did at Korea was give each other a hug and say "Hi, how are you," and it was just like, I still feel like a fanboy but I feel [like] more of a friend. And, I remember at the banquet at Four Continents everyone was like "Oh, Hanyu, photo, photo, photo!" But he went out of his way to come up to me and say hi to me, and he took out his iPod and took a selfie with me, and he's trying to find the best [indistinct]. And I was like "Waaaaaaa!!!" I'm crying on the inside, low-key. But he wanted a selfie with me. I was just like, "Wow. This is a class act. Like, this man is a man of class."

 

Interviewer 1: I feel like you should take that and just remember that, and now you have it on record as well for next time you feel like a failure, 'cause [Camden: Yeah!] you're wrong. You're very wrong. [laugh]

 

Interviewer 2: It's so hard to remember the good things, isn't it. I think we all struggle with that, right?

 

Camden: Exactly. Yup, yup, exactly.

 

[sallycinnamon]

6 hours ago, yude said:

This is Brian's interview by a magazine "AERA" published this week, it seems it was given after 4CC. (other translations are welcomed )

 

https://dot.asahi.com/aera/2020031800017.html?page=1

https://dot.asahi.com/aera/2020031900017.html?page=1

 

── By winning in 4CC, Yuzuru Hanyu (25) has achieved Super Slam which owns the titles of all major competitions in both Senior and Junior stage including the Olympics and WC.

　I'm happy for him. It was the title Yuzuru had always wanted. This season, he won the first competition of the season, won SC for the first time, and he had the first victory in 4CC while being on a roll. I think Japanese nationals became a turning point. The moment he returned to the rink side after his free program, Yuzuru said "I am tired". I felt that it was not that he was tired from four minutes program, but that he was tired from the days he had been running for the last eight years. His spirit of fighting while retaining the title of two Olympic champions, two world champions and many more game is immeasurable. He missed the title at Japanese nationals, but I was rather relieved and finally felt that we could settle down and get a fresh start.
　
──NHK, Grand Prix Final, Japanese nationals, did these continuous competitions become a burden for him?

　If typical Yuzuru in continuous competitions, his adrenaline gradually comes out and picking up the momentum. However, this time, there were many trips to Japan, Canada, Italy and Japan again, and the coach who was scheduled to be at the GPF was not able to arrive in time due to the accident, and that unexpected drama called the absence of the coach was added, which made him tired mentally. What Yuzuru needed was to calm down and return to the usual environment, more than recovering physically.

──What was the process of returning to Pyeongchang Olympics season programs?　

　At the beginning of new year, the coaches heard from Yuzuru that he would bring back old programs and we all agreed. Immediately we called the choreographer, Shae-Lynn Bourne, and asked her to renew the program from 4 and a half minutes length to 4 minutes (since performance time was shortened in the last season). Since she had a work to brush up the program of his team mate, JunHwan Cha, she made the time and came to the rink very soon for us.

──What was your impression of seeing Ballad No. 1 and SEIMEI for the first time in two years?

In a word, I felt, "This is true Yuzuru Hanyu." Of course, it is not that I didn't like the programs he had used since last season, but it was tribute after all. Sometimes the respect for someone can lead to less self-assertion. I was thrilled to see programs in which Yuzu could talk about himself and express his heart. Soon after bringing back the programs, I was relieved to see him happily skating, and after a week, the dignity began to seep out and I was impressed.

──The fans were also looking forward to the programs again.

In the official practice in Seoul, when Yuzuru made a pose without playing music, the audience knew which pose it was and they applauded. It expands the imagination of the viewer and makes the invisible parts even visible. That is how it is with masterpieces.

 

──Yuzuru's jump layout of free program at 4CC consisted of 4 quads in 3 types.

Originally, the plan was to not include 4Lo. Of course, I don't think this jump configuration is his technical limit. The strategy was to consider that finishing without injury was more important than anything else. Nathan Chen (20) from the United States also reduced the number of quad to 4 in free program at 4CC.

──Yuzuru's 4Lz was revived this season.

He was injured in 2017, but since he has resumed training 4Lz this season, I can say that it has improved technically because he does it at higher quality than he did two years ago. I think he was scared when he restarted it, but he got over that stage. In the past, he could only do it on good days, but now he is on the stage that he can adjust to do it in any condition.

──How about 4A?

Yuzuru did it in front of everyone for the first time in the practice at GPF. Moreover, he watched for a chance that the coach was not there (laughs). When I heard the news, I was not surprised at all. That was possible if I thought about Yuzuru's character. He often holds “theater”, he tries new things even when his feelings are rising at the finale of the ice shows. But at that time, it was not a very good jump and it was a fall. I have an impression that 4A in the practice in Toronto is closer (to success).

──What does he need technically a little more (for 4A)?

The biggest task for him is that his 3A and 4A have to be slightly different in terms of the way he jumps. In other words, he has to learn and find tips as a different jump. His 3A has a large amount of floating time from jumping up to the start of rotation. An incredibly beautiful jump. But to make four and a half rotations, he has to start rotating as soon as he jumps up.

──How about him jumping bigger and extend the floating time?

It doesn't work like that. Yuzuru's 3A is a type of large jump, so he doesn't need any more height. If he attempts to raise the height depending on the muscle strength, the rotation will be delayed. All he needs to do is to start rotating quicker after jumping up. It is difficult due to slight difference in sense at take-off. If you start rotating early, you will not be able to keep the height or your posture will be distorted. He has been adjusting it little by little. Yuzuru already knows that "the answer is around here". There is the answer in his body, so we are at the stage that I don't need to speak out anymore.

──What is the strategy for his future games?

For Yuzuru, perfect performance with five quads is one goal, and he also wants to land 4A. However, what I stick to as a coach is the quality. Skaters want to play a "game" which they compete for the number of jumps. Especially when the rival, Chen, appears in front of you, you will want to do a lot of jumps. But the essence of figure skating is "quality, not number." Yuzuru has the ultimate beauty of "powerful but effortless skating," so taking advantage of himself is the strongest strategy. My mission is to keep saying, "Quality is more important" to the extent that he gets fed up with me.

──This is the 8th season in a team. What evolution has Hanyu achieved?

For me, Yuzuru remains the same as a 17-year-old boy who came to Toronto eight years ago. But in the last eight years, the eyes of outside have changed. He became a celebrity, has obligations to fulfill, and always wants to keep his fans happy. In other words, the sense of responsibility has changed. That's why we, as a home, value "same as usual" so that he doesn't forget the love for skating and he can enjoy it. Yuzuru turned 25 and became a skater everyone respects. There is the intrinsic beauty of skating, not just jumping. I want him to keep telling, "My skate is beautiful."

 

 

[yuzuangel]

On 3/29/2020 at 11:10 AM, MatchaBeans said:

 

I try my best at a very quick literal translation for the Figupedia documentary (Yuzu parts). Please correct me if there are any mistakes! (It's a double translation as I'm translating from Chinese subtitles)

 

Outside 4CC building with his 'Clever' mask on, talking about program changes:

Yuzu: The most important thing is that I want to skate in a style that suits me. How do I say. In my heart, it felt/became difficult, after Japanese Nationals. About what figure skating actually is, I've thought about it a lot.  Although figure skating is a sport that I have been doing for 20+ years, I felt there was something wrong somewhere, the things I was chasing after didn't feel quite right. Indeed, when challenging high difficulty contents, it's very interesting. Challenging myself makes me very happy. When I finish/complete the challenges, I feel very happy. However, I feel this is not 'happiness'. Not only to complete the challenges. For example, the feeling when skating, being able to see the content that I want to perform/express, or the fusion of jumps with the music, I actually really like these. The programs that can convey all of these the most are SEIMEI and Chopin. 

 

The playing with echo part:

Yuzu : It's very interesting, the echos. It's different when done from different parts of the rink. A sound that starts from the edge of the shorter side of the rink takes longer to travel, hence it takes longer to echo. If it's done from the middle of the rink, the echo is much faster because the sound waves reach the walls faster and reflect faster. I was just experimenting with these, it's really fun.

 

In TCC, with the rink behind him, talking about Chopin:

Yuzu: There are about 17 seconds at the start of the music where I am just standing and not moving. That was something I told the choreographer - that I wanted the 17 seconds of idleness, hoping that I can feel closer to the music, let the feeling that I can express to be closer to the music. I always keep this (feeling close to music) in check.

 

In the van with a laptop on his lap, talking about SEIMEI music:

Narrator: He chose the music himself, and also arranged the music himself.

Yuzu: Over here (when the long music note was playing), this is very long. Although the second piano note is like 'qiang qiang qiang' ... there is 0.8 seconds between the first 'qiang' and the second piano note. I feel it's not the same. The jumps, the programs, steps, spins, everything. Every movements need to become one with the music and program, then only it's ok I think. Of course, it's ok if I don't jump on the 'qiang', but if I don't go with the 'qiang', the rest of the choreography will need to match the music properly. These are the things I really pay attention to.

 

4CC interview in front of the blue curtain:

Yuzu: This Hanyu Yuzuru, is very affected by music. It's because of the presence of music that the art, technique and performance/expression of figure skating is born. In my heart, music and figure skating is almost an equal. To me, hmm, that one, how do I say... (fusing music and figure skating together) is my life principle, the reason I figure skate.

 

Skate Canada Victory Ceremony last part closing in on the camera showing off his medal:

Yuzu: I finally got it!

 

The last part where he's in a suit holding a red-white paper board:

What he's written: The aim/goal is 5 steps to the front of my limit!

 

 

[yuzuangel]

3 hours ago, FlyingCamel said:

I’m really not good at translating but I kinda tried so this is what the article says about Yuzu:

 

Yuzuru Hanyu was born in a normal family in Sendai, Japan. When he was 4 years old, his older sister starting skating at a nearby rink so he followed her. As Hanyu has asthma, his parents let him skate as a means of healthy exercise. His coach quickly realised that Hanyu’s body structure and flexibility were very good, and he was also not afraid no matter how many times he fell, so they let him properly train.

 

When he was in 4th year of primary school, he became the national champion. But for Hanyu who endures difficult trainings daily, skating quickly became tiring and boring so he secretly started playing baseball. When his parents found out, they asked him, “do you truly like skating?” His parents let him make the decision, making him truly consider his goals for the first time. In the end he answered, “I want to continue skating.” Hanyu recalls, “at that time when I said this my heart was already in doubt, if my parents insisted for me to continue, I might have quickly disliked skating.” 
 

Hanyu became the champion in men’s single skating in the Sochi and Pyeongchang winter olympics, becoming the first man to do so in 66 years. His total score in the 2015 Grand Prix Final is the highest total score, and is listed as a world record.

 

 

 

Hope I didn’t get anything wrong!!

 

[yuzuangel]

2 hours ago, sweetwater said:

This is an excerpt from a news segment aired in 2008. It's a report on the opening event for Sendai Winter Park, a winter-only outdoor rink. Yuzu took part in this event with his teammate Mari Suzuki, who was going to compete at Junior Worlds 2009 with Yuzu.

Here is the full clip:

  Reveal hidden contents

 

 

A rough translation of the interview after their performance (05:27~):
Interviewer: How do you feel? (t/n: about your skating)
Yuzu: Well... Although I was a bit nervous since the ice was smaller than usual, I could skate well without any trouble, any mistake, in particular, so I am happy.
Interviewer: What about you, Miss Suzuki?
Mari: It was so much fun since I skated on the outdoor rink for the first time.
Interviewer: Actually, they are both going to compete at World Junior Championships in February. Miss Yaginuma, could you give them a message of support?
Junko Yaginuma: They are both in the stage where one can develop themselves rapidly, so I hope they can bring out their full potential without holding back. Gambatte kite kudasai! (=Do your best!)
Interviewer: And from their sempai, Mr. Honda!
Honda: Well... the word "Gambatte" makes skaters most nervous, so... I just hope they'll enjoy skating there, showing what they can.
Interviewer: Indeed. Thank you, skaters! That was a great performance!

 

[SitTwizzle]

It may have been posted elsewhere? It is widely available anyway, but here's a translation of Hana Ni Nare "for Japanese learners".

https://nihongolearner.blogspot.com/2013/01/hana-ni-nare-by-sashida-fumiya-lyrics.html

 

あなたは今笑えてますか? Anata wa ima waraetemasu ka?/Can you smile now?
どんな息をしてますか? Donna iki wo shitemasu ka? / How do you breathe? (Lit. What kind of breath do you take?)
人混みに強がりながら Hitogomi ni tsuyogarinagara / While pretending to be strong in front of people
「負けないように」と Makenai you ni to
歩いているんだろうAruite irun darou / You must be walking, as though there were no problem (lit. som that you won't lose)
足許のその花でさえ Ashimoto no sono hana de sae / Even those flowers beneath your feet
生きる事を 迷いはしない / Ikirukoto wo mayoi wa shinai / don't hesitate to live

「生きてゆけ」/  Ikite yuke / Keep on living
僕らは今、風の中で / Bokura wa ima, kaze no naka de/ Now, in the wind
それぞれの空を見上げてる / Sorezore no sora wo miageteru / We look up at our own skies
ぶつかっていいんだ / Butsukatte iin da / It's okay to bump into each other
泣いたっていいんだ / Naitatte iin da / It's okay to cry
どこかに答えはあるから / Dokoka ni kotae wa aru kara / Because somewhere out there, there is an answer
「あきらめないで」/ Akiramenaide / Don't give up
どんな明日も苦しいほど / Donna ashita mo kurushii hodo / No matter how painful the future will be
その命は強く輝く / Sono inochi wa tsuyoku kagayaku / Your (lit. that) life will shine brightly (lit. strongly)
風に立つ一輪 / Kaze ni tatsu ichirin / One flower stands in the wind
僕たちも花になれる / Bokutachi mo hana ni nareru / We can become flowers, too

あなたは今気づいていますか? / Anata wa ima kizuitemasu ka / Have you realized?
大きな力はその手にあること / Ookina chikara wa sono te ni aru koto / That you have power in your hands (lit. That there is big power in your hands)
勇気は今、光になる / Yuuki wa ima hikari ni naru / Courage will become light
未完成でいい / Mikansei de ii / It's all right even if you're not ready (lit. it's incomplete)
立ち向かえる/ Tachimukaeru / You can still fight (lit. oppose, face)
その胸に抱いてる種は / Sono mune ni itaiteru tane wa / The seed that you hold in your chest
いつかきっと 夢を咲かすよ / Itsuka kitto yume wo sakasu yo / will someday bloom dreams, for sure

「負けないで」/ Makenaide / Don't lose
誰もが今、時の中で / Daremo ga ima, toki no naka de / Now, in time,
それぞれの明日を探してる / Sorezore no asu wo sagashiteru / everyone looks for the future
傷ついていいんだ / Kizutsuite iin da / It's all right to be wounded
間違っていいんだ / Machigatte iin da / It's all right to make mistakes
何度も立ち上がればいい / Nandomo tachiagareba ii / Stand up no matter how many times you fall (lit. It would be good if you can stand up many times -- has the suggestive tone)
ただひとつだけ / Tada hitotsu dake / Just one thing
その未来へ手を伸ばして / Sono mirai e te wo nobashite / Reach out your hand to the future
真っすぐに咲く花のように / Massugu ni saku hana no you ni / Like the flower that blooms upright
人は誰も強くなれる / Hito wa daremo tsuyoku nareru / Everyone can be strong
あなたもきっとなれる / Anata mo kitto nareru / So can you

答えのない毎日に立ち止まっても / Kotae no nai mainichi ni tachidomatte mo / Even if we stop at each day without an answer
その涙は始まりのサイン / Sono namida wa hajimari no sain / Those tears are a sign of a beginning
ほら太陽が / Hora taiyou ga / Look, the sun
優しい風が / Yasashii kaze ga / and the gentle wind
僕らを見つめているから / Bokura wo mitsumeteiru kara / are gazing at us


「生きてゆけ」/  Ikite yuke / Keep on living
僕らは今、風の中で / Bokura wa ima, kaze no naka de/  Now, in the wind
それぞれの空を見上げてる / Sorezore no sora wo miageteru / We look up at our own skies
ぶつかっていいんだ / Butsukatte iin da / It's okay to bump into each other
泣いたっていいんだ / Naitatte iin da / It's okay to cry
かならず答えはあるから / Kanarazu kotae wa aru kara / Because for sure, there is an answer

「あきらめないで」/ Akiramenaide / Don't give up
どんな明日も苦しいほど / Donna ashita mo kurushii hodo / No matter how painful the future will be
その命は強く輝く / Sono inochi wa tsuyoku kagayaku / Your (lit. that) life will shine brightly (lit. strongly)
風に立つ一輪 / Kaze ni tatsu ichirin / One flower stands in the wind
僕たちも花になれる / Bokutachi mo hana ni nareru / We can become flowers, too

風に咲く一輪 / Kaze ni saku ichirin / One flower blooms in the wind
僕たちも花になれる / Bokutachi mo hana ni nareru / We can become flowers, too
 

I should thank Henni147 for her encores video, which made me search a translation of the lyrics.

[yuzuangel]

On 4/18/2020 at 11:29 AM, monchan said:

Yuzuru Hanyu Vietnamese fanpage translated Ice Jewels vol 12 full interview. Many questions but I just summed up a few interesting points:

1. He compared Otonal and Ballade, Origin and SEIMEI: saying Otonal is a piano concerto with many other instruments besides piano while Ballade is a solo piano piece that allows him to truly feel the pure tone of piano. For Origin and SEIMEI, he can skate both with fire inside him as the main motivation, but now he understands he'd better focus on control and vision rather than let the fire inside go wild

2. He talked about how changing layout for each comp helps him avoid injury, it's the biggest achievement. He feels he has adjusted his condition pretty well thru out this season

3. He started to fully rotate 4A!!! His body feels more and more relaxed when jumping it now. The progress is slow as he can't train it everyday but he gradually has a clear image of a successful 4A!

4. Training 4A can make his attention and energy on other jumps decline, he has to separate his training for them clearly.

 

Just a loose translation. Anticipate full Eng trans soon.

 

13 hours ago, yude said:

This is an article about Marin Honda's Instagram live, and there was her short comment about Yuzuru. She was asked how she looked up to Yuzuru, and she answered "Everything. He is like a historical figure to me. When we passed each other at Skate Canada, he was getting off the bus and I thought "He really exists!"." 

 

https://thedigestweb.com/topics_detail13/id=13795

 

 

[yuzuangel]

22 hours ago, MatchaBeans said:

Here is a translation of Yuzu's latest interview by Ice Jewels magazine (Apr 2020) that I have translated from Mandarin source. It was translated from Japanese to Mandarin quite literally, so I tried my best to do the same from Mandarin to English, translating every word so as not to lose the nuances. Because neither Japanese nor Mandarin have tenses, so I used present/past tense here according to the context. For those who have read it in Japanese, feel free to point out any mistakes/inaccuracies! Thank you!

 

There aren't too many new info this time, but it's like a more detailed version of things that he has said before in the season. I find it very interesting, hope you all can enjoy the same!

 

*

 

Yuzuru Hanyu x Ice Jewels: To surpass myself is to become my better self

 

Because the last competition of the season - Worlds - was suspended, the 2019/20 season has come to an abrupt end. This was a season where Hanyu won competitions that he has not won before. The victory at 4CC resulted in him achieving a Super Slam, leaving behind glorious records and memories. Through this interview, Hanyu looked back at this season, and at the same time talked about his aspirations for the next season.

 

About winning 4CC

 

--- Upon winning 4CC, does Hanyu have any special thoughts?

 

I really wanted to be able to get the 4CC gold medal, I feel very happy to have won it. Although probably Worlds & Olympic titles are the titles that should have been won last, but in this season, by winning my first Skate Canada's gold medal etc, I have completed the task that has been up until now. More importantly, I had already won a 4CC silver medal at the age of 16, but from then on it had been tough ride to get the gold medal. I feel, I finally got the gold medal, that's really nice. 

 

--- When the Japanese Nationals 2019 was over, you said it had been hard to pull yourself back together. How were you feeling after the Nationals? How did you rearrange yourself? Please discuss in detail.

 

It could be due to the succession of the 3 competitions (NHK - GPF - JNats). I was generally tired, probably. I was thinking this way while getting through that period of time. I had always been putting pressure on myself, there wasn't time to recover, emotionally and physically, so I just followed my heart and did as I please during that period. Did not really take notice of / care for anything in particular, basically don't really remember how I lived through it anymore....

 

The 'SEIMEI' & 'Ballade No.1' that was unique to the moment (4CC)

 

--- About the decision to change programs, especially to repeat SEIMEI and Ballade No.1, two programs that have reached completion, was there any hesitation and uneasiness? Besides, what made you determined to change the programs?

 

About SEIMEI, although there was a slight thought of 'completing the program without being able to include both 4Lz and 4Lo in the layout', but these two programs, in a certain sense, are programs that I consider had been completed properly. However, I did not feel a loss of motivation (because of this) at all, or shall I say, I would like to make these programs better than they were before. I was thinking, was there anything that could only be done with my current self, was there anything that I wanted to express, any content that I wanted to skate. 

Of course I had uneasiness. Whether or not (the judges) approve of this program, to boil it down, I am not sure even now. The judges are human. Whether or not it would get the recognition it did in 2015, it could only be found out from the competition results. The judging system is different now, it's not possible to surpass the past performance without bringing out an excellent performance, this is for sure. Besides, (underperforming) would spoil the program, I also had this feeling. 

However, I really wanted to skate these two programs. This frame of mind has been motivating me from behind since training started. I wanted to use a difficult layout that is even closer to the limit than before, to present SEIMEI and Ballade No.1 that could only be done with my current self. 

 

--- The short program Ballade No.1 at 4CC was exceptionally performed. In the past, you said before (that skating to this) was like transforming yourself into the pianist's breathing, the sound of the keys to execute the performance. What kind of mood did you perform it with this time?

 

This time, I skated with the feeling of moving my body with the music notes that I hear in my mind. All the music notes, tones permeated my body. As I was feeling the rhythm of the music, I let my body dance along with it. Of course, I was nervous for the jumps and difficult elements, and there were many places where focus was needed to complete (the elements), but I felt I had handed over 80% of my consciousness to the music.

 

--- About the free skate SEIMEI, the program duration was reduced by 30 seconds. In order to not spoil the outlook of the program, when adjusting the program, which parts of it were placed extra attention to?

 

Generally, I didn't want to spoil the flow of the music and the program, this kind of thought was very strong, therefore did not cut out parts that had left a deep impression on people. Although there was a part where the tempo was sped up to shorten the length of the program, but even after accelerating the tempo, one of the significances of me skating to this program is that (this program has) a rhythm that belongs to me, I was very careful not to spoil my own rhythm in the part where the tempo was accelerated. If the change in tempo was too much, the essence of me skating to this program would have become different.

 

--- What were the intentions behind the jumps layout for the new SEIMEI? Especially the inclusion of four jumps in the first minute. Within that included (jumps with) no set-up, 3A was followed by 3F with just turns, the jump layout that only Hanyu is able to do. Please talk about the turning point when the idea of this layout was born.

 

Firstly, I wanted to do my best to value the music that forms the program. The program was rearranged based on this premise. I didn't want to change the rhythm of the first half of the program, and I also wanted to place, in the second half of the program, only three jumps that are able to achieve positive GOEs. Therefore, had to add a jump somewhere in the first half of the program, and the solution I figured out was to jump 3F at that point. Although the possibility of placing 3Lo or 3Lz was also considered, but I believed the jump that won't interrupt the music and rhythm there was 3F. Shae-Lynn had a full picture of the program after the revision was done, she was also satisfied, therefore this layout was decided.

 

--- What was it that could only be expressed after having skated Otonal and Origin?

 

Though Otonal was a piano piece, it was also an orchestral music. I tried to express Otonal as a music piece completed with the piano as the core, tried to feel every kind of sounds. In Ballade No.1, exactly because I had attempted to express Otonal's orchestral music before, I had a deeper feeling towards the echos, transparency, spread and propagation of the pure piano notes. Origin, on the other hand, was performed by integrating a vigorous gush of power from the ground. This had always been the mainstay of executing my performance in this program. While I was running forwards non-stop, I felt that the power had become my core. In SEIMEI, maybe while receiving this power and energy, I had to let everything be within my own control, only then it'll be ok. I was hoping that the program was not about continuously releasing its full energy, but through the program, displaying an impression of being able to float in the sky, surveying the overall situation, although having both feet on the ground.

 

The achievements of this season, the goals for the next season

 

--- Since the Grand Prix series, Hanyu had been changing jump layout through competitions, participated in the Grand Prix series, Grand Prix Final, Japanese Nationals. What kind of rewards did you get from them?

 

I think the biggest reward was precisely no injury. If I force myself towards my best form when the body was in poor condition to adjust the peaking, it would result in a prolonged case of bodily functions not being able to keep up, and mentally not having any room to deal with things calmly. However, in this season, I adjusted very well.

 

--- Please talk about the results of the trainings etc for injury prevention that had been done up until now.

 

I started to know it was already almost enough if I force myself to this extent, started to know where the line is. It's just, if I don't go beyond that line, then I won't achieve any growth, I also understand this. Therefore, I started to think, little by little, about when it's ok to go over that line, when it's not ok to go over that line.

 

--- Worlds has been cancelled, but how was the training results in the timeframe between the end of 4CC and Worlds? Was there any results / experience that connects to the next season? 

 

I felt I trained by paying more attention to skating skills and jump transitions during trainings. Although it's difficult to say that it's been completed, but I felt that if I train by firmly paying attention to skating skills and jump transitions, then in the next season (we will be) seeing a different scenery probably.

 

--- Was your training and life in Canada affected by Covid-19? Was there anything you need to pay attention to?

 

I washed my hands and gargled very carefully and thoroughly. Besides, when getting home after finishing trainings, I would also sterilise and disinfect various things. (Covid-19's) impact on training was not huge.

 

--- In the coming off season, is there any training content that you would like to try specially because you're in the off season?

 

I hope to spend time doing the Axel jump practice. Because to train a new jump during the competitive season is very difficult. Also, my training base has been closed. Although the situation has become very difficult, I intend to put effort in off-ice training etc, lay a solid foundation.

 

--- For the next season, the idea of the program, the image of the music. Please, within the possible limits, tell us about it.

 

I intend to use new programs. Although I don't know how much time is needed until the 4A is trained to the degree where it can be included in a program, but I want to strive hard with this as a goal as well in the next season. Regarding the music and program, I do not have a concrete image yet. However, I hope to be able to make programs that are meaningful to me.  

 

--- About 4A, in the GPF, you showed everyone 4A for the first time. At that time, what were your thoughts and feelings of revealing 4A to the public for the first time in the arena?

 

Although I was very nervous, but because I was jumping in front of everyone, I slightly looked forward to whether it could be successful. It felt very pleasant to attempt to leap over the limit barrier.

 

--- How is the completion of the 4A now?

 

Starting to be able to fully rotate, starting to be able to jump with a more relaxed form a little bit. Because 4A is not (something that) can be trained everyday, so it can be considered that, bit by bit, the body is able to specifically sense the image of a successful 4A.

 

--- Did the training of 4A affect other jumps?

 

After training 4A, because it's quite energy consuming, the intensity and focus of other trainings have somewhat decreased. On this, I did trainings by setting my priorities clear.

 

--- Lastly, please talk about aspirations for the next season and a message for the fans.

 

In this season as well, thank you very much to everyone for your support for me until the end. Now, everyone is experiencing the same difficulties because of Covid-19. Everyone, please take care. Facing the next season, including the training of 4A, I will also continue to work hard to train. 

 

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[yuzuangel]

5 hours ago, FlyingCamel said:

  Reveal hidden contents

Thank you everyone who answered my question and gave such clear explanations!! Again I’m a relatively new Fanyu so there are many things I still don’t know haha

 

Found someone who translated Yuzu’s handwritten message on page 127 of the Ice Jewels season photobook to Chinese and I’ll try my best to translate to english with my limited abilities:

 

 

”During the 2019-2020 season, everyone supported me with all their strength, thank you very much!

Thanks to everyone’s support, I could welcome the end of the season without great pain.
To “Yuzuru Hanyu”, what exactly is “figure skating”? I previously had days when I questioned myself like this.

But, after revisiting all different kinds of programmes, I realized once again, such programmes are created because it is exactly those moments that create such programmes (T/N: not sure what exactly he means here, and I’m not sure how to word it nicely in English, but I personally think it means every different moment back in time creates each programme)

As for the 2020-2021 season, exactly what form it will take, I don’t know too to be honest.

But no matter what happens, I will carry feelings and emotions unique to each moment, and skate to the end with all my ability!

April 21, 2020

Yuzuru Hanyu”

 

Not exactly the best translation since it’s Japanese —> Chinese —> English but I tried my best to stick as closely as possible to the Chinese translation and again there are some parts I don’t exactly know how to word nicely... hope the meaning doesn’t get butchered too much with my bad translation skills haha

If anyone has a better translation/can do a better job at translating it will be good too!

 

 

[yuzuangel]

5 hours ago, sweetwater said:

Thank you for sharing! She is a competitive ballroom dancer who has been enjoying watching figure skating for a long time. In this video, she is talking about Yuzu focusing on how he maintains, creates, controls balance. She thinks that when it comes to physical activities, balance is everything, and calls Yuzu "balance no oni." (=a demon at controlling balance) The way she talks about Yuzu's movements is analytical and interesting, so I roughly translated the part she discusses PyeongChang SP and the summary after that. Hope my translation is comprehensible...

 

Quote

(from 02:28)
So, let's take a look at his SP at PyeongChang this time. First of all, this costume looks very good on him. He is very handsome and has a very good figure. Just perfect. 

 

(Beginning of the program)
Now, I am going to discuss this moment.
First, he rolls his head, and the movement followed by the right half of his body. Then he draws his left shoulder and his left pelvis closer and shifts his weight on his left body. Then he switches direction from forward to backward. I think he is making use of the weight of his arms well. Also, he doesn't change the center of gravity.

 

(Where he glides backward bringing both arms up)
Then he brings his arms up here and slightly changes direction. Here, it looks that his left shoulder and right pelvis get aligned and transfer enough weight to the floor (ice)

 

(Where he turns into the spin after SE-4S-SE)
Now, his blade switching direction from forward to backward. First, he is turning while facing the same direction. Then his head follows the rest of his body along with the flow. This part is also super cool.

 

(Where he goes out of the spin)
Please take a look at how he uses his right hand from here... Here. Do you see he is swinging his right arm around from his elbow? This is where he is creating a balance. 

 

(Back-outside counter into 3A)
Now he goes into a jump facing forward. It's a triple Axel. Here, he goes into it from going backward. This is very difficult, but he maintains the center of gravity while changing direction, and he has to take off right after that... This should be difficult.

 

(After 3A)
Hanyu senshu moves his hands very elegantly, especially when he folds his arm as he does here. This is one of the things that make him cooler than other men's singles skaters.

 

(4T-3T Rippon)
In the next element, he brings his arms up while doing the second jump. This is super difficult, right? What makes this difficult is that you have to bring your arms up without losing momentum to rotate, and you have to bring your arms symmetrically, to maintain your balance. That's why this is difficult but he does it very beautifully. So cool, don't you think?

 

(Stsq)
Then he goes into the Stsq. I want you to pay attention to how he maintains the alignment between his chest and his knees while moving very fast. After all, even when he is moving this fast, he maintains such coordination.

 

(Before he goes into the final spin)
And the next thing surprised me was... now, he is rotating counter-clockwise... and this moment, he starts rotating clockwise. I thought he would push with his left foot and rotate on his right foot, but he continues rotating with his left foot. What is difficult about this is that you need so much energy (t/n: to maintain your balance, I guess) when you change the rotating direction, but he can do it naturally by neutralizing the momentum within him. This is a superhuman feat.

 

(After showing the PyeongChang SP)
What I found incredible about Hanyu senshu is how he control his balance. After all, you need to be able to move all your joints separately to maintain balance. Dolls and scarecrows easily topple when they get slightly off-balance. If they were humans, it is like all of their joints are fixated. If they can move their joints, they can maintain balance even when they stumbled. Dancers like us are focusing on how we can use our joints softly, and I think Hanyu senshu is probably doing the same. I guess he is paying attention especially to hip joints, ankles, and shoulder blades. The way he expresses the sound is so cool. To talk about his physique, he isn't unnecessarily buffed, has a very good figure, looks handsome, and can captivate the audience with his facial expression as well. So I really am his fan.

 

Next time, I would like to discuss Mao Asada, so if you enjoyed this video, please click on the thumbs-up button. See you in the next video!