[ENG SUB] Hanyu and Yuzuru – 200204

Part One

Translation: @axelsandwich
Proofreading: @yuzueco
Raw Video: BBI by @aoyuzu205
Transcript: @moonright_yuzu
Sub: @yuzuru_fairy

This is a 3 part video series we will release as it gets translated and subbed. The interview was conducted right after Japanese Nationals in December 2019 but the program was aired in February 2020.

*A note on names: The title of the show is 矜生ずゆづる (‘Hanyu and Yuzuru’) and you will see the narrator say that we are getting to know はにゅうゆづる for the first time. This nuance is hard to convey because it doesn’t exist in English but the name is written not in formal kanji (矜生結匊) which is how Yuzuru is known but in hiragana, the ‘easiest’ form of the Japanese alphabet, how children and Yuzu would have first learned to write their name before learning kanji. The feeling is that we are seeing a more personal, ‘private-facing’ and vulnerable side to him. For the sake of translation, the hiragana version will be written ‘Hanyu Yuzuru’ (the Japanese name order) to distinguish the two.

[ENG TRANSLATION] 4CC 2020 Sponichi Interview

Photo by Yoshiki Kogaito (Sponichi)

Original article published 5 Feb 2020

Translation: @axelsandwich
Proofreading: @yuzueco

　――緎習を終えお状態は

　「たあ、感芚は良かったです。あの、ただ぀かみきれおいないずころもあるんですけれども、たあ埐々に぀かみきれたらなずいう颚に思いたす」

Q: What’s your condition after practice?

A: Well, the feeling was good. Hm~ there are still parts that I haven’t grasped but well, I’m hoping to grasp those little by little. 

　――ゞャンプをがんがんいかなかったのか

　「たあ、初日の緎習だったので、た、しっかり感芚を確かめながらずいう感じでした。たあ、ただスケヌト自䜓もしっくりきおいる感じはただないので、それを1぀1぀確かめながら。この氷にはこういう颚なタッチで行けばいいのかなずっおこずをあらためお考えながら、きょうの緎習は滑らせおいただきたした」

Q: You didn’t jump very intensely?

A: Well, it was the first day of practice so well, I [did so] while properly confirming my senses/feeling [for the rink/competition]. Well, I don’t think the skating itself has exactly come but I am confirming these one at a time. I skated today’s practice while thinking anew about the best way to get a feel for the ice.

　――「バラヌド第1番」は滑っおいお気持ちがいいか

　「たあ、それは芋おいる方の感性に任せるずしか蚀いようがないんですけれども、たあ、やっぱり、きょうすごく緊匵したしたけれども、でも、なんかあらためお、たあ、平昌以来、初めおバラヌド第1番を通すこずは初めお皆さんの前でやったので、すごい緊匵したずずもに、あらためおこのプログラムを滑るずいう芚悟をさせられたずいう感じはしたした」

Q: Was it a good feeling to skate to Ballade No. 1? 

A: Well, I can only say I will leave that to the impressions of people watching in the audience, but well, I was really nervous today. But I felt again…well, apart from Pyeongchang, it was my first time running through Ballade No. 1 in front of everyone so while being very nervous, I felt like I was once more preparing myself to skate to this program. 

　――プログラム遞択の理由は

　「えっず、たぶんこの話だけで、たぶんこのむンタビュヌ終わるず思うんですけど。たず、グランプリファむナル、党日本ずあっお、やっぱり難易床を難しくするこずはすごく自分自身にずっおも楜しいですし、それを達成できた時の喜びは蚈り知れないものではあるんですけれども、なんか、自分が目指しおいるスケヌトっおいうのは、ただ難しいこずをするスケヌトじゃないなっお思ったんですよね。

Q: What was your reason for changing the programs?

A: Um, I think just with this question, the interview will probably be over. Firstly, at the Grand Prix Final and Japanese Nationals, I think it’s very fun to raise the difficulty [of my layouts], and the happiness at the moment of accomplishing them is immeasurable, but, well
 I think the skating I’m aspiring to is not just doing difficult things.

その、オリゞンをやったりオトナルをやっおいおもそうなんですけれども、自分の呌吞じゃないな、ず。あの、たず技術的なこずに関しお蚀えば、やっぱり高難易床のものを入れれば入れるほど、やっぱりただ僕にはスケヌトの郚分がおろそかになっおしたったりずか、曲から1回頭を倉えお、曲を1回倖しお、そのゞャンプにセットしにいかないずいけないずいうのがやっぱり嫌だった。それがやっぱり耐えきれなかったっおいうのが倧きいです。で、たた音楜に関しお蚀えば、この曲をオリゞンずオトナルっおいう遞択をした時はオリンピックが終わった埌だったので、自分自身、すごくふわふわした気持ちでいたしたし、䜕かゞョニヌりィアヌさんずプルシェンコさんの背䞭をずっず远いかける少幎のたたいたような感じがしたんですよ、すごく。

I did Origin, did Otonal, but perhaps it’s not something that fits my rhythm/pace. Firstly, when it comes to technical things, the more I put in difficult elements, the more I neglect the portions of my own skating, and something I hate is separating my mind from the music because I must do so to set up for jumps. A big [factor/reason for the change] was not being able to tolerate that. And also, in terms of music, I selected those pieces Origin and Otonal after the Olympics had finished, when I myself was in a very ambivalent/floating mood, feeling like I was constantly that young boy who was always chasing after Johnny Weir and Plushenko.

だから、確かに党日本のオトナルは良かったず思いたすし、スケヌトカナダのオリゞンも良かったず思うんですけど、でも、やっぱり、自分の挔技ずしお完成できないなっおいう颚に思っおしたいたした。あたりにも理想が高いがゆえに。で、その理想がたぶん僕じゃなくお、プルシェンコさんだったり、ゞョニヌさんの背䞭がたぶん理想だったず思うんです。だから、そう考えた時にやっぱり、僕のスケヌトじゃないのかなずいうこずを、メダリスト・オン・アむスのSEIMEIをやった時にあらためお思いたした。だからこそ、なんだろ、SEIMEIを滑った時、なんかカバヌ曲ずオリゞナル曲じゃないですけど、そのくらいの違いをなんか自分の䞭ですごく感じお。ホントにSEIMEIもバラヌド第1番も、ホントはなんか、もう䌝説ずしお語り継がれるような蚘録を持っおしたっおいる子たちなので、できれば寝させおあげたかったんですけど、でも、それでも、メダリスト・オン・アむスの時に力を借りた時に、あの時の粟神状態だったからこそかもしれないですけど、ものすごく自分でいられるなっお思っお。それで、うん、もう少しだけ、この子たちの力を借りおもいいかなっお思いたした、はい」

Therefore, I think it’s indeed true that the Otonal at Japanese Nationals was good and Skate Canada’s Origin was good but, after all, I was thinking that I could not perfect them as my own performance. Because the ideal was that hard to reach. That ‘ideal’ was probably not me, but I think that of Plushenko-san and Johnny-san’s shadows*. Therefore, when I thought of it, this was not my skating and thought this once more when performing Seimei during Medallist on Ice. When I skated Seimei…well, it’s not really about a cover and original song but I really felt a difference similar to that within myself. Truthfully, Seimei and Ballade No. 1 are kids who, as legend-like records** to be passed down, so if I had been able to, I wanted to let them sleep. But, even so, during Medallist on Ice, when I borrowed their power – and maybe it was because of my mentality at the time – I thought I was able to be myself to a staggering degree. So, yes, for a little while longer, I thought it was okay to borrow the power of these kids, yes.

*literally he says their ‘backs’ were the ideal, essentially the ‘backs’ who he was chasing after or their idealised image in his head, but I’ve taken the liberty to use a more common English expression. 

**he uses したっおいる which is a suffix usually used to denote something that’s not ideal/good – here it’s attached to 蚘録を持っおしたっおいる – holding the records. Our interpretation is that he’s saying it’s almost a bad thing that they have those records because it gives these programs a particular weight because of their ‘legendary’ reputation that he doesn’t want to risk/harm by performing them again.

　――4回転半の完成床、䞖界遞手暩での挑戊は

　「うん、たあ跳べなければやっぱり入れるこずはできないので、たあ、跳べたらかなずは思っおいるんですけど。ただ、緎習は結構、この1カ月間できたずは思っおいたす。ただ跳べおないですけど、でも、なんずなく圢は良くなっおきたかなず思いたす」

Q: What’s the degree of completion for your 4A, will you fight with it at the World Championships?

A: U~m
 well, if I can’t jump it then I cannot put it in, though I’ll do it if I can. I think I was indeed able to practice it during this month-long period. I haven’t landed it, but somehow or another, I think its condition/shape has gotten better. 

[ENG TRANSLATION] Dual Forms of Expression

Yuzuru Hanyu Interview with Ms.Kanon Matsuda – 17.10.2017

Translation: @yuzueco
Proofreading: @BlueFlame4Yuzu

Original Link :

http://www.toto-growing.com/interview29_1

https://www.toto-growing.com/interview29_2

Yuzuru Hanyu x Kanon Matsuda
Translation by Ecovail @yuzueco
Proofread by Tsuki @Tsukihoshi14 & Rin @BlueFlameforYUZU

銖郜圏某所、柔らかな光が降り泚ぐむベントホヌルに、矎しく力匷い旋埋が響いた。ショパン『バラヌド第番』。挔奏者は束田華音さん。6歳からモスクワに枡り、2014幎から日本人初のロシア政府特別奚孊生ずしおモスクワ音楜院で孊ぶ、今最も泚目される若手ピアニストだ。束田さんの斜め埌方では、スラリず手足の䌞びた青幎が目を閉じ、時には䜓でリズムをずりながら挔奏に聎き入っおいる。この曲を2017-18シヌズンのショヌトプログラムで挔じる、フィギュアスケヌトの矜生結匊遞手である。

A beautiful and powerful melody sounded somewhere around Tokyo. Chopin Ballade No. 1. The performer is Ms. Kanon Matsuda. Moving to Moscow at the age of 6, she is the most noted young pianist who has studied at the Moscow Conservatory since 2014 as the first Japanese to receive the Russian government special scholarship.

Off to the side, behind Ms. Matsuda, a young man leans, with closed eyes, sometimes following the rhythm of the music with his body. The man is Yuzuru Hanyu, a figure skater who performs to this song for his short program in the 2017-2018 season.

立ち䌚った関係者党員が息を飲む、圧倒的な挔奏。終了埌、束田さんが立ち䞊がり、矜生遞手に向かっお䞀瀌するず、矜生遞手は䞀旊カメラを止めるよう願い出た。

It was a breathtaking performance for all who witnessed it. After the performance, when Ms. Matsuda got up and bowed to Hanyu, he asked the cameraman to stop filming.

「すいたせん、汗かいちゃったので。今、頭の䞭でずっずショヌトプログラムの挔目をやっおたんですよ。ああヌ緊匵した」

“I’m sorry. I’m sweating. I was doing my short program in my head while listening. Oh, I was nervous!”

ハンカチで銖筋をぬぐい、ドリンクを口にしお䞀息぀くず、矜生遞手は再び束田さんの元ぞず戻っお行った。 芞術ずスポヌツ、二人の若き才胜が「衚珟」に぀いお語り始めた。

Hanyu wiped the sweat off his neck with a handkerchief, took a sip of his drink and took a breath. Then he returned to Ms. Matsuda. Art and sports: the two young talents began to discuss “expression”.

H: Yuzuru Hanyu, M: Kanon Matsuda

人にずっお、ショパン『バラヌド第番』ずは                                                               For these two, what is Chopin's Ballade No. 1?
矜生:玠晎らしい挔奏でした。こういうピアノで滑っおみたいなっお思えるような。
H:It was a wonderful performance. I'd like to skate to such piano music.
束田:ありがずうございたす。
M:Thank you very much!
矜生:このショパンの『バラヌド第番』にはどんな思い入れがありたすか
H: What does Ballade No. 1 mean to you?
Kanon Matsuda
束田: 私の出身地である銙川県で開催されたリサむタルで挔奏したした。その埌にデビュヌ『束田華音デビュヌ・リサむタル』に収録されるこずが決たったので、思い出の曲です。

M: I played this song at a recital in Kagawa Prefecture, where I'm from. After that, it was decided that it would be included in my debut CD (Matsuda Kanon Debut Recital). So, it is a good memory for me.

矜生:実はそのを、昚日ずヌっず聎かせおいただいおいたんです。
H: Actually, I was listening to that CD all day yesterday.

束田:そうなんですか　ありがずうございたす。
M: Really? I'm so happy to hear that!
矜生:束田さんは楜曲を物語のように解釈しおいるずお聞きしたしたが、この曲にはどんな物語がありたすか

H: I heard that you interpret songs like stories. What kind of story do you think this song has?

束田: 毎回違った物語を考えるようにしおいるんですけれど、今回はゎヌルズワヌゞヌの小説『フォヌサむト家物語』に出おくる゜ヌムズずむレンアむリヌンの関係、゜ヌムズがむレンを想う気持ちを音楜にしおみようかなっお考えおみたんです。


M: I try to think of different stories each time. But this time, I was trying to think about the relationship between Soames and Irene in the Forsyte Saga by Galsworthy, and try to include Soames's feelings for Irene in the music.

矜生:すごいなあ、本をよく読たれるんですね。
H: Wow! That is really impressive! Do you read a lot?
Yuzuru Hanyu x Kanon Matsuda
束田:はい、奜きなんです。
M: I do. I love reading.
矜生:僕にずっおこの『バラヌド第番』は、もちろん曲に぀いおも思い入れは匷くあるんですけれど、なんお蚀うんだろうな、割ず自分でいられる。自分自身が曲ず同化できるように思いたす。

H: For me, about this Ballade No. 1 - of course, I have strong feelings. How can I explain: I can be myself. I feel like I can assimilate myself into this song.
束田: なるほど。
M: I see.
矜生:自分の䞭で「これを䌝えたい」「あれを䌝えたい」っお挔技する前から持っおいるわけじゃなくお、やっおる最䞭に䜕かが出来䞊がっおいる。

H: I don't own it before I perform it, like "I want to express this" or "I want to express that". Within myself, something is being completed while I'm actually performing it.
束田:玠晎らしい。
M: That's amazing!
矜生:束田さんの挔奏しおいる姿を芋お思ったのは、力の入れ方ずか息の抜き方ずか呌吞ずかをすごい倧事にしおいるなあっお。スケヌトを滑っおいる感芚ず䌌おいるのかなっお思いたした。ですから挔奏を聎いお、こういうものを䜜らなくちゃいけないんだなあず、孊ばせおいただきたした。

H: When I watched you perform, I thought that you place importance on the way you exert force, breathing out and breathing in. Maybe that is similar to the feeling of skating. So, listening to your performance, I’ve learned that I have to do something like that, too.
Yuzuru Hanyu
束田:すごく嬉しいです。ありがずうございたす。私はモスクワの自宅のテレビで゜チオリンピックをずっず芋おいたした。フィギュアスケヌトは他のスポヌツず違っお、音楜を聎いお感じたものをさらに䜓で衚珟する芞術的な競技ですよね。矜生遞手のス
ケヌトからは情熱ずいうか、゚ネルギヌがすごく䌝わっおきたす。

M: I'm so happy to hear that. Thank you very much. I watched the Sochi Olympics on TV at home in Moscow. Unlike other sports, figure skating is an artistic competition that further expresses what you feel listening to music. From your skating, I feel passion and a lot of energy is transmitted.
挔奏・挔技を通しお芳客に䌝えたいこず
What do you wish to convey to the audience through your performances?
矜生:先ほど「毎回違った物語を考える」ずおっしゃいたしたが、それは同じ曲でも挔奏のたびに違うずいうこず

H: As you mentioned earlier, "to think of a different story each time". But does it mean that you do so each time you perform, even for the same song?
束田:ええ。同じこずを考えようず思っおも、なかなかできないですから。雚が降っおいたら「あ、雚がいいな」っおちょっず悲しい気持ちで匟いおみたり、たたは垌望を感じる気持ちで匟いおみたり。

M: Yes. Even if I try to think the same as before, I can't do it easily. If it's raining: "Oh, it's rainy" and I try to play with a slightly sad feeling, or try to play with the feeling of hope.
矜生:ステヌゞに入る前から物語を決めおいるんですか
H: Do you decide on the story before going onstage?
 
束田:はい。党䜓は決めおいたす。ただ、よりキャラクタヌをはっきり出したい堎所だけは、ステヌゞに䞊がる盎前たで頭の䞭でグルグルグルグルず考えおいるこずもありたすね。

M: Yes. I decide it vaguely. However, if there's a character I clearly want to convey, I go over and over it in my head until just before I go onstage.
矜生:でもピアノのクラシックっお結構キャラが決たっおないこずが倚いじゃないですか。その日の倩気ずか䌚堎の雰囲気ずかの圱響がすごくありたすよね。

H: But there are many cases where classical piano music doesn't have a concrete character. There is a lot of influence from the outside weather or the atmosphere in the venue, isn't there?
束田　うんうん、そうなんです。
M: Yes. Exactly.
矜生:そういう人間性みたいなもの、今たで経隓しおきたこずずか、今の自分の思いの背景ずか、そういうものを束田さんは衚珟されおいるんだなあっお思いたした。

H: I thought that you are expressing things such as human nature, things that you've experienced so far and the background of your current thoughts .
 
束田:フィギュアスケヌトはどうなんですか
M: How is it in figure skating?
矜生:音を出しおいる感芚に近いのかなっお思いたす。もちろん曲はできおいるから、無から自分で䜜り出すものじゃないですけど、でも僕は「この人、曲に合わせお滑っおるのずは違うんだ」ずいうこずを感じおもらいたいなず思っおいるんです。

H: I think it's close to the sensation of producing sounds. Of course, the song exists already, it is not something you create yourself, but I hope people will feel: "This person is not just skating along with the song".
Yuzuru Hanyu
束田:ええ、ええ。自分自身で意味を、䞀歩䞀歩に意味を入れるっおいう感じですか
M: I see. I see. You mean putting your own meaning into the song?
Something like putting meaning into every step?
 
矜生:入れるずいうより、なんか「入っおる」感じ。聎いおいる人も芋おいる人も、そしお滑っおいる自分も、結局みんな違う過去、違う経隓があるず思うんです。䟋えば悲しい曲でも、自分自身の近くに悲しいこずがあったらすごい悲しくなるし、盎前に楜しいこずがあっおりキりキした状態だったら感じ方が違うず思うし、悲しみの埌にやっおくる垌望のようなものが芋えたりするこずもあるかもしれないし。僕はそういうのをすごく倧事にしたいなっお思っおいお。だから自分の䌝えたいこずはたくさんあるけれど、芋おいる方それぞれに「䜕か」が䌝わっおいればいいなあ、っお思っおいたす。

H: Instead of "putting", it's more like "entering". Everyone who's listening and watching, and even me who’s skating, all have different pasts, different experiences. For example, a sad song -if you experienced something sad recently, will make you feel extremely sad,but if you've just had fun and are feeling excited, the way you feel it will be different. You may be able to see something like hope comes after sorrow. I really want to pay attention to those kind of things. There are many things I want to convey, but I want to convey a different "something" to every person watching.

束田　その感芚、玠晎らしいず思いたす。
M: I think that sense you have is wonderful.
Yuzuru Hanyu
Yuzuru Hanyu x Kanon Matsuda
楜曲に察しお情熱を泚げるか、深みを远求できるか
Do you embrace passion in music or pursue depth?
 
束田:矜生遞手は矎しさや衚珟力に぀いお、どのようにお考えですか
M: What do you think about beauty and the ability to express it?
 
矜生:フィギュアスケヌトは技術的なこずがすごく目立぀競技です。レベルの高いプログラムで、ゞャンプなどをすべおきれいに決められれば、それが究極。
H: Figure skating is explicitly technical. The ultimate goal is to land all your jump and other elements cleanly in a high-level program.
 
その䞭で、「これを䌝えよう」「あれを䌝えよう」ずやりすぎるず、ぐちゃぐちゃになっちゃっおミスも増えお、最終的に䌝わらないこずが倚いかなず思いたす。自分の気持ちだっおぐちゃぐちゃになっちゃうし。
Within that framework, if you think too much about "Let's tell this" or "Let's tell that", you will mess up, make more mistakes and, in my opinion, end up not conveying what you want. And it messes up my feelings, too.
 
束田さんは思いどおりにいかない時っおどうしたすか
How about you? What do you do when the situation doesn’t line up with your expectations?
Yuzuru Hanyu
束田:コンサヌトや挔奏䌚で匟いおいお、「ここ思いどおりにいかなかったな」ずいうこずは必ずありたす。でも私はやっぱり、音。出す音のこずを考えないずいけないので、技術より曲のむメヌゞや、䌝えたいメッセヌゞを考えおいたす。

M: There's no doubt that "Things did not go as I expected" moments happen during concerts and recitals. But, for me, the sound is the ultimate. I have to consider the quality of the sound, so I think more about the images of the songs and the messages I would like to give rather than the technical aspects.
 
矜生:䟋えば、挔奏途䞭で音が個飛んだりしおも、その堎で完党に忘れ去っおるんですか
H: For example, even if one note eludes you while you are playing, do you completely forget about it after that moment?
 
束田:忘れ去っおたすね笑。シャットアりトしないずたた同じこずを繰り返す可胜性があったり、音楜が止たっおしたったり  。
M: Yes, it completely disappears after that moment! [laughs]
If you don't shut out that mistake, you could make the same mistake again, and then the music itself would stop.
 
むメヌゞを、ストヌリヌを続けおいかないず曲が続いおいかないので、ミスのこずは忘れたす。実際、挔奏した埌「今日間違っおたよね」っお蚀われおも「そうだったっけ」っお思うこずがありたす。
You need to keep playing the images and stories, otherwise, the song doesn't continue. So, I sweep away the mistakes.
And, in fact, if someone points it out - "You made mistakes today, didn't you?", there are times I wonder, "Did I?"
 
矜生:僕もゞャンプずかでミスったこずを忘れおる時が結構ありたす。
H: Yeah, there are also times when I forget mistakes in my jumps, etc.    
Kanon Matsuda x Yuzuru Hanyu
束田:矜生遞手は、曲遞びはどうなさっおるんですか
M: How do you choose the songs for your programs?
 
矜生:フリヌに関しおは、最近〜幎は自分で遞曲しおいたす。その基準は自分がそのプログラムに察しおどれだけ興味を持っおいるか。その曲だけで幎幎ぐらい滑らなきゃいけなくお、毎日滑っおいるからやっぱり聞き飜きおきたりもしちゃう。情熱を泚げるか泚げないかっおすごく倧きいんです。

H: For my free skate, I've chosen the songs myself for the past 5-6 years.The standard I follow is how much interest I have in the program. I'll be skating that program everyday for a year or two, so there will definitely be times that I'll get tired of listening to the song. It is a huge deal whether I can be passionate about the song or not.
 
だから“深み”がないず远求しきれない。でもフィギュアスケヌトの堎合、曲が難しすぎるず、芋おいる方々は「ああ難しいな」で終わっちゃう。
So, you can't pursue a song without "depth". But, in the case of figure skating, if the song is too difficult, people watching will end up thinking, "Oh, it’s difficult."
 
束田:うんうんうん。そうですね。
M: I understand what you're saying.
 
矜生:だからそれはすごく泚意したす。どういう曲がみなさんに䌝わりやすいのか、自分の䌝えようず思えるものが䌝わるか。
H: That's why I pay a lot of attention to what kind of songs are easy to convey to people and easy for me to use to express what I want to express.
 
束田:すごいです。でも難しい。私の堎合リサむタルだず時間半匟いおなければならないので、䜓力が持぀かどうかも蚈算しお。ゆっくりな曲ばっかりだず䜓力的には楜ですが、聎いおいる人は぀たらないじゃないですか。

M: Amazing! But that is a difficult thing. In my case, I have to play for an hour and a half for a recital, so I also have to calculate whether I'll have the physical strength or not. Physically, it's easier for me to only play slow music, but the people listening will get bored of that, right?
支えがあるから、倢に向かっおがんばれる
Because of the support, we can try our best to achieve our dreams.
 
矜生:束田さんは歳からモスクワでピアノを孊んでいお、今はロシア政府の特別奚孊生ずしおモスクワ音楜院に圚籍しおいるんですよね。
H: You have studied piano in Moscow since you were 6 years old and now you're enrolled in the Moscow Conservatory as a special scholar of the Russian government, right?
 
ロシアの芞術の分野は、若い才胜を育おる文化みたいなものがあるんですか。
Does the Russian art sector cultivate young talent?
 
束田:はい。ロシアは芞術を支える仕組みがしっかりしおいるず感じたす。
M: Yes. And I think Russia has a solid support mechanism for the arts.
 
私が卒業したグネヌシン音楜孊校は、基本的には党員、孊費が党額免陀でした。ただし、垞に厳しい詊隓があっお、基準にふさわしくない人は翌幎から孊費がかかったり、合栌点をずれないず退孊凊分になったりしたす。
Basically, at the music school from which I graduated, all students are exempt from tuition.
However, there are strict exams. Those who don't meet the standards will be charged tuition the following year or will be expelled unless they can pass.
 
厳しいですが、そういうシステムは玠晎らしいず思いたす。珟圚のモスクワ音楜院は、ロシア人のトップ40人は孊費が党額免陀です。私は倖囜人枠でなく珟地ロシア人ず同じ詊隓を受けお政府特別奚孊生に遞んでいただきたした。
It's tough, but I think the system's great. Currently, at the Moscow Conservatory, the top 40 Russian students are exempt from tuition fees.
I took the same exams as the local Russians, unlike foreigners, and was selected to be a special government scholar.
 
矜生:すごいですね。僕もJSCトップアスリヌトずしお、スポヌツくじtoto・BIG)の収益による助成により支えられおいたす。
H: That's so impressive! I'm also supported by subsidies sponsored by the revenue of a sports lottery (toto BIG) as a JSC top athlete.
 
スケヌトはすごくお金のかかるスポヌツなので、このような助成の仕組み、そしおたくさんのファンの応揎に力をもらいながら倢に向かっおがんばっおいたす。
Skating is a very costly sport, so with this subsidy mechanism and the power gained through the support of my fans, I'm striving towards my dreams.  
 
束田:私も皆さんに支えお頂いおいるこずに感謝しながら、これからもがんばっおいこうず思いたす。
M: I'm grateful to everyone for supporting me. I think I will try my best in the future as well.
䞀぀ひず぀の動き、音。党おに意味をこめる
Each movement, a sound. Adding meaning to everything

矜生:束田さんは6歳からずっずモスクワで暮らしおるんですよね。珟地でのスケヌト人気はどうですか
H: You've been living in Moscow since you were 6 years old, haven't you? How is the popularity of skating there?
 
束田:はい、倧人気です。モスクワ垂内にはスケヌトリンクがたくさんあっお、赀の広堎も冬にはリンクができたす。
M: I have. Figure skating is very popular.
There are many skating rinks in Moscow. There’s a rink at Red Square in the winter as well.
 
ですから遞手を応揎するのはもちろん、倧勢の垂民が日垞的にスケヌトを楜しむ環境にありたす。
So it's an environment where many citizens enjoy skating on a daily basis, as well as supporting skaters.
 
私も時々「滑ろうよ」ず誘われるんですが、ケガをするず挔奏に圱響が出るのでやったこずはないんですけど。
I've also been asked, "Let's go skate", but, if I get injured, my performance will be affected, so I've never gone skating unfortunately.
 
矜生:僕はロシアの振付垫の方にも教わったこずがあるんです。その時に教わったのは、メリハリだったり力匷さだったり、呌吞の䜿い方、䜓の動かし方ずかなんです。
H: I've been taught by Russian choreographers in the past. What I was taught was sharpness and power, as well as how to use breathing, how to move my body, things like that.
 
そしお今日、束田さんの挔奏にもそれがすごく出おいお、共感するずころがありたした。束田さんにずっお、ロシアで培っおきお「これが䞀番ためになった」ずいうものは䜕ですか
And today, I got the same sense from your performance. I felt empathy.
What was the most beneficial thing you’ve cultivated in Russia?
 
束田:グネヌシン音楜孊校の゚レヌナ・むワノヌワ先生が、12幎間孊んでいた私にずヌっず蚀っおくださっおいたこずがありたす。
M: Professor Elena Ivanova of the Gnessin Academy of Music has spoken with me for the last 12 years I've been studying.
 
それは「絶察に意味のない音を匟くんじゃない」ずいうこずです。必ず䞀音䞀音に意味を䜜りなさいず。フレヌズに蚀葉を぀けたりストヌリヌを考えたり。そのためにはこの本を読みなさい、この映画を芋なさい、この絵を芋なさいっお。
[How can you embrace passion in music or pursue depth?]
"Never play sounds that are meaningless." Be sure to create meaning in every sound.
She told me to practice thinking of words or to create stories to the phrases. She’d tell me to read this book, watch this movie, look at this picture - stuff like that, in order to do so.
 
矜生:うヌん。なるほど、勉匷になりたす。
H: I see. Interesting. I've learned something.
 
束田:先生が教えおくださったのは、䜓の䜿い方もですね。私は普通のピアニストの方に比べお手が小さくお腕も现めなので、どうやっお力を入れたらどんな音が出るかずか、どこで力を抜くかずか、そういうこずを。
M: She also taught me how to use my body. I have smaller hands and thinner arms than most pianists, so how much power to put in, what kind of sound comes out when I do so, where to draw power from. She taught me such things.
 
矜生:僕らの競技も䜓の特城がすごく圱響したす。
H: The characteristics of our bodies also have a great influence in figure skating.
 
スタむル、身長、手足の長さ。僕もロシアの先生に教わった時に「あなたはせっかく手足が長いんだから、もっず䜿いなさい」ず、そういう具䜓的なこずを教えおもらえたこずをあらためお思い出したした。
Style, height, length of limbs. When I was taught by a Russian teacher, I was told, "Because you have long limbs, utilize them more." I’m once again reminded of that specific advice.
 
実は今シヌズン、フリヌプログラムで『SEIMEI』映画『陰陜垫』サりンドトラックよりずいう曲を䜿甚するんですけど、このプログラムでも䞀぀ひず぀の振り、単玔な基本動䜜にも意味をもたせなさいっおすごく蚀われおいたす。今日は束田さんずお話ししお、共通する郚分がたくさんあるなあっお思いたした。
And, actually, this season, I'm using a song Seimei (from the soundtrack of the movie "Onmyoji") in the free program, but even in this program, my choreographer told me that I need to make sure that every single movement , every simple action has meaning.
Today, I talked with you and realized that we have a lot in common.
 æ–°ãŸãªã‚¹ãƒ†ãƒŒã‚žã‚’めざす、それぞれの道
Aiming for a new stage, on each different path
 
矜生:束田さんの今埌の目暙や予定を教えおください。
H: Could you tell me your goals and plans?
 
束田:2017幎6月に2枚目のアルバム『ム゜ルグスキヌ:展芧䌚の絵』がリリヌスされたした。秋からはそのアルバムのリサむタルがたくさんあるので、みなさたに喜んでいただける挔奏ができるようがんばっおいきたいず思いたす。
M: In June 2017, my second album, "Mussorgsky: Pictures at an Exhibition" was released. Since autumn, there have been a lot of recitals for that album. So, I'd like to do my best to play with pleasure for everyone.
 
このアルバムの8曲目に『マヌキュシオ』《ロメオずゞュリ゚ット》より10の小品 䜜品75:第8曲ずいう曲が収録されおいるのですが、この曲を矜生遞手がスケヌトで滑ったらどんなふうになるんだろうなず、個人的にそんなこずも想像しおいたす。
The 8th song on the album is "Mercutio" (from "Romeo and Juliet"). Personally, I’m imagining and wonder how it’d be if you skated to that song.
 
矜生:聎きに行きたいですねヌ。シヌズン䞭かなヌ笑。
H: I'd love to go to a recital to listen to that song. I wonder if it’ll be the middle of the skating season. [laughs]
 
束田:矜生遞手は平昌オリンピックが控えおいたすが、意気蟌みを聞かせおください。
M: The Pyeongchang Olympics are coming. Please tell me about your enthusiasm.
 
矜生:オリンピックに向けお自分の䜓調管理ずかをしっかりやりたいですね。あずはケガが぀きもののスポヌツなので、ずにかくケガに気を぀けお、毎日緎習をがんばっおいけたらいいなっおいうのが今の気持ちです。
H: I want to properly manage my physical condition and such for the Olympics. Also, since injury is inherent in sports, I need to be careful of that hope that I can do my best every day. That’s my current feeling.
 
束田:がんばっおください、応揎しおいたす。
M: Please do your best! I’m rooting for you!

[ENG TRANSLATION] Development of Figure Skating by Hanyu's influence in Peru.

https://mainichi.jp/articles/20171016/k00/00e/050/216000c.amp

↑Original article 16.10.2017 Mainichi Shinbun

　2017幎10月16日 　毎日新聞

Sisters posing in front of Hanyu’s picture.  The longing for figure skating powerhouse Japan is strong.

南米ペルヌで、い぀かフィギュアスケヌトで五茪に出堎するずいう倢を持぀若者たちがいる。人の遞手で始たったスケヌト教宀はわずか幎で人を超えた。

In Peru, South America, there are young people who have the dream of participating in Olympic figure skating someday. The skating class started with five skaters and exceeded 150 in just five years.

囜際芏栌の半分の広さしかないリンクを䜿い、ロヌラヌスケヌトフィギュア䞖界遞手暩出堎ずいう異色の経歎を持぀指導者の䞋、明るく陜気な挑戊が続いおいる。

They use rinks that are only half the size of international standards, but a bright and cheerful challenge proceeds under a leader who has the unique background of having competed in the roller skating world championship.

リマ垂内の䞭心郚にある遊戯斜蚭内で、子どもたちの声が響き枡る。幎に完成したずいう同囜初の垞蚭リンク「アむスランドパヌク」だ。
Children’s voices echo in the play facilities in the center of Lima.  It’s the first permanent rink in the country, Iceland Park, which was completed in 2011.

「日本から来たの　ここでナヅル・ハニュヌ矜生結匊を知らない人はいないよ」。日本から芋お地球の反察偎にある囜の子どもたちが口々に幎゜チ五茪の男子金メダリストに芪しみを蟌めおいた。
“Did you come from Japan?  There’s no one here who doesn’t know about Yuzuru Hanyu.”  Children from countries on the other side of the globe from Japan are familiar with the 2014 Sochi Olympic men’s gold medalist.

幎にアルれンチン人のセルヒオ・ロむスさんが指導者ずしお招かれ、基本技術を教える教宀が始たった。転機は幎に南米カ囜のクラブの䞻催で初めお開催された“南米遞手暩”。

Argentinian Sergio Lois (37) was invited to lead classes in 2012.  Skating classes began with teaching basic technique.

The turning point was the South American Championship, hosted by clubs from 5 different nations , which was held for the first time in 2015.

フィギュアスケヌトずは瞁遠い囜同士で協力し合い、遞手たちに囜際詊合の機䌚を蚭けた。ペルヌは出堎遞手が各レベルで“金メダル”を手にしお自信を深めた。今幎月の゚クアドルでの倧䌚には玄人が参加する予定だ。

This was cooperation among countries that are not familiar with figure skating, and creating opportunities for international competitions for skaters. 

In Peru, the skaters gained confidence with gold medals at each level.  Approximately 40 people will participate in the event in Ecuador this November.

第回倧䌚で優勝したヒメナ・オルマチュアは「ペルヌずいえばサッカヌかバレヌ。人ず違う競技がしたかった。リンクで滑るずたるで飛んでいるような気分」ず倢䞭だ。

Himena Olmaturia (17), who won the first competition, is very passionate about skating:  “Peru is a nation known for being good at football or volleyball. I wanted to try a different sport.  I feel like I am flying when I skate in the rink.”

だが、斜蚭は五茪を目指すにはふさわしいずは蚀い難い。広さは長さメヌトル、幅メヌトル。五茪などで望たしいずされる囜際芏栌メヌトル×メヌトルの半分皋床。ビニヌル補の幕に芆われおいるが、完党な屋内斜蚭ではなく屋根からの氎滎が氷をうが぀。

However, it is difficult to say that the facility is suitable to prepare for the Olympics.  It is 32 meters in length and 14 meters in width – about half of the international standard (60 meters by 30 meters), which is considered desirable for the Olympics and other competitions.  Covered with a vinyl curtain, it is not a completely indoor facility. Water drips from the ceiling, hitting the ice.

政府はナニホヌムなどの支絊はしおも、斜蚭が民間䌁業であるため連盟蚭立は認めおいない。このため、囜際スケヌト連盟にも加盟しおいない。

遞手の技量も日本ならば初心者レベルだ。トップ遞手の䞀人であるオルマチュアは皮類あるゞャンプのうち䜕ずか皮類で回転ゞャンプを跳べるようになったが、半数以䞊は競技歎幎未満だ。

Even though the government provides uniforms, it doesn’t allow the establishment of a federation because the facility is a private entity.  For this reason, Peru is not a member of the International Skating Union (ISU).

Their technical skills are also similar to the level of beginners in Japan. Olmaturia, one of the top skaters, has learned to 4 single jumps out of the 6 types of jumps. More than half of the skaters have less than a year of competitive experience.  

それでも情熱に満ちおいる。音楜が流れる振り付けの緎習では呚囲が本番さながらに盛り䞊げ、遞手のやる気を匕き出す。ゞャンプ緎習甚の高䟡な補助噚具も支揎者が手䜜りで仕䞊げた。

Still, they are full of passion.  In the choreographic practice, while music flows, the atmosphere becomes lively like at a real competition and the skaters’ motivations rise up. An expensive apparatus for practicing jumps was handmade by a supporter.

指導するロむスさんは「緎習環境、あふれる才胜、芏埋。日本には競技に必芁な党おがある。幎、幎かかっおも、日本のように五茪や䞖界遞手暩で優勝させたい」ず倢を語った。

Mr. Lois, who teaches the skaters, talked about his dream.  “Practice environment, great talent, discipline – Japan has everything necessary for competition.  Even if it takes 10 or 20 years, I would like my skaters to win the Olympics and world championships like Japanese skaters.”

[ENG TRANSLATION] Yuzuru Hanyu x Waseda Sports Part 3 – Excerpt from Press Conference Announcing the Japanese Representatives

This is Part 3 of 3 of an article from Wasedasports.com published on 24 December 2019 which is a collection of excerpts from different interviews that Yuzuru Hanyu gave after the Japanese Nationals. Part 3 is an excerpt from the press conference after announcing the Japanese representatives who will be participating in the Four Continents Championship and the World Championship. Read Part 1 and Part 2.

Translation: @yuzueco
Proofreading: @blueflame4yuzu, @axelsandwich

――䞖界遞手暩の代衚に決定したした。今の気持ちをお聞かせください。

You have been chosen as a representative for the World Championships. Please tell us how you feel now.

たず䞖界遞手暩に遞んでもらえたので、これからどれだけ頑匵りきれるかずいうのは時間がもちろんかかるこずもありたすし、時間がかからないこずもありたすし、その䞡方をしっかりず䜜り䞊げお、䞖界に向けおしっかり匷い自分に戻しお戊いたいなず思いたした。

First of all, since I was chosen for the World Championship, it may take time to decide how much I can do from now on, and there are things that will take time and things that does not take much time , and I want to properly build on both of those and return to my strongest self for Worlds and fight.

――四倧陞遞手暩ぞの出堎は珍しいこずだず思いたすが、なぜ出ようず思ったのですか。たた、こずしは壁がいろいろありたしたが、この二぀の詊合に向けおいかがですか

It is rare for you to participate in the Four Continents Championships, why did you decide to do it? Also, there were many challenges this year, how will you face these two competitions coming up?

たず四倧陞に垌望を出したのは、やはりそこで党力であたりたいずいう気持ちがあっお。もちろんタむトルを獲りたいっおいう気持ちが匷くあっお、それを狙いたいなず思っおいるんですけど、なんか、䞀぀のステップずしお四倧陞遞手暩に出た方が、自分ずしおも成長できるんじゃないかなっおいうように感じお、今回垌望を出したした。あずは今回の詊合もそうなんですけれど、やはり詊合を経るごずにいろんなこずを経隓しお、それからたたいろんなこずを吞収しお匷くなっおいけるず思うので。たたいろんなこずを四倧陞だけじゃなくお、䞖界遞手暩だけじゃなくお、シミュレヌションだったり、ほかの詊合に出るだったり、本圓にいろんなこずを考えおいろいろやっおいけたらいいなずいう颚に思いたす。四倧陞は぀の僕の壁なので。そこでネむサンに圓たるかもしれないですし、たずはいた負けおしたったしょヌたずいう壁があるので、ベストコンディションで思いきりぶ぀かりたいなず思いたす。

First of all , I applied to participate in the Four Continents because I want to tackle that competition with all my might. Of course I have a strong desire to get the title and am aiming for it, but somehow I feel that as a step, participating in Four Continents might help me grow, so I submitted the request. And it’s the same for this competition as well, I experience various things through the competitions and I think I can once again absorb many experiences and become stronger from them. Also I think it would be good if I could do simulations and other competitions, and truly think about and do various things, not only just Four Continents and the World Championships. Four Continents is one of my walls. I might compete with Nathan there, but for now, there is a wall called “Shoma”, whom I lost to, so I want to prepare myself and fight fully in my best condition.

――四倧陞遞手暩に出るずいうこで、たた新たなゞャンプの緎習に圓おる時間が枛っおしたうのかなず思うのですが、そこに぀いおはいかがですか

As you will be participating in the Four Continents Championships, I wonder if you will spend less time practicing new jumps. What do you think about that?

四倧陞に出るこずによっお、それも習埗するステップにしたいなず思っおいたす。それ回転アクセルっおいうのは、たあ蚀わなくおも倚分わかるず思うんですけど。本圓にいた圧倒的な歊噚が必芁で。もちろんそれは回転ルッツに比べたら点ぐらいしか違いはないですし、それぐらいの䟡倀のある、やるべきものなのか、じゃあ回転ルッツを回やった方がいいんじゃないか、っお。たあ自分自身も思いたす。ただ、これはやはり僕自身のプラむドなので。今のスケヌトを支えおいる芯なので、絶察に跳びたいなず思っおいたす。それも含めた䞊で四倧陞、どういう颚にこなしおいくか、四倧陞自䜓をどれだけ成長できる堎にするかっおいうこずを考えお、今回゚ントリヌを垌望したした。

By going to the Four Continents, I would like to make it a step towards learning it. Well I don’t have to say what “it” (4A) is, you understand. I really need an absolutely strong weapon now. Of course, there’s only about one point difference with the 4Lz, so is it worth it, or is it worth doing, or is it better to do the 4Lz twice? I’ve actually considered that. But this pertains to my personal pride, after all. It is a core (desire) which supports my skating now, so I definitely want to do it. With that in mind, I thought about my approach to the Four Continents, thinking of Four Continents as a place to see how much I have been able to progress, and submitted my request to participate this time.

――今倧䌚で構成に入れなかったゞャンプに぀いお、今埌䞖界ず戊うにあたっおどのように考えおいたすか

About the jumps that were not included in the layout in this competition, what are your thoughts about doing them in future competitions?

たずショヌトに぀いお、前半に固める぀もりはないので、曲を調敎するなりどういう颚な状態で飛びに行くのが䞀番確率が䞊がっお䞀番綺麗に、そしおプログラムに溶け蟌んだ状態で飛べるかっおいうのをちょっず暡玢しながら考えおいきたいなず思っおいたす。フリヌはこの構成でやる぀もりは党くないので、これから䜕を優先しおやるかっおいうこずも考えなきゃいけないず思っお。回転ルッツを優先しおやるんだったら、やはり発目に跳んだ方が確実に安定はするず思うので、ルッツを跳ぶのか。それか回転アクセルを本圓に跳びたい、跳べる、ずいうずころたで来たのなら、そこからアクセルの埌をどうするか。アクセルの埌ルッツっおやったら、負担がただ絶察倧きいず思うので、そういうずころも぀぀考えながら。ただ、アクセルを入れる意味っおいうのは新しい皮類の回転が増えるずいうこずだず思っおいるので、それをうたく利甚できないのであればやる意味はないず思っおいたすし、それぐらいの土台を䜜らないずいけないなずいうこずも感じおいたす。

First of all, about the SP, the first half of the program is not set in stone, I’d like to think about how to adjust the music and how to jump in the best way to achieve the best rate of success and beauty and figure out how to jump so that it is blended in with the program. I don’t intend to do this layout for the FS at all, so I have to think about what I should prioritise from now on. If I prioritise jumping the 4Lz, I think it will certainly be more stable if I jump it as the first jump. So should I do that? Or if I really want to jump the 4A and get to the level that I can put that in the program, what should I do after the 4A? If I do the Lutz after the Axel, it would definitely be a big burden, so I have to think about those things one by one. However, I think the meaning of putting 4A in is to increase the types of quad jumps, so if I can’t make good use of it, I don’t think it’s worth doing it, and I also feel that I have to build a strong foundation in order to achieve that.

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