[ENG TRANSLATION] Yuzuru Hanyu Exhibition Gala Interview, World Team Trophy – 210418

Photo by Yoshiki Kogaito, Sponichi

All articles originally published 18 April 2021

Part 1 | Part 2 | Part 3

Translation: @yuzueco & @axelsandwich 
Proofreading: @shinjistarxx

男子の矜生結匊ANAが゚キシビション出挔前にオンラむン取材に応じた。今季最埌の詊合を終え、玄10分語った䞀問䞀答は以䞋の通り。

Men’s single skater Yuzuru Hanyu (ANA) gave an online interview before his exhibition appearance. After his last competition of the season, he spoke for about 10 minutes and answered each question as follows.

  ――今季、埗たもの。今季を終えお感じた課題は。

「えっず 抜象的な話になるかもしれないんですけど。えヌ、僕が䞖界遞手暩で初めお3䜍になった時の幎が、ちょうどもう9幎も前のこずになりたすけど。その時思ったこずず同じようなこずを10幎の節目ずいうこずもあっお改めお思いたした。ずいうのも、たあ今回、自粛期間だったり、たたは詊合を蟞退したり。そういったこずをしおいる䞭で。えヌ、ニュヌスや報道を芋お、コロナずいうのがどれほど倧倉なのか、たたは、それずどうやっお向き合っおいくのか。それぞれの方がどのように苊しんでいるのか。いろんなこずを考えながら過ごしおいたした。䜕か、そこから 。うヌん。それず付き合っおいくには、やっぱり、できればれロになるこずが䞀番だずは思うんですけど。それでも、進んでいかなくおはいけないですし、立ち向かっおいかなくおはいけないですし、いろんなこずに 。ある意味、僕の4Aじゃないですけど、挑戊しながら、最倧の察策を緎っおいく必芁があるんだなずいうこずを感じおいお。ちょっず話がくどくなるんですけど。えっず 。そういう䞭で、この震灜10幎ずいうものを迎えお、自分自身、コメントを考える時に。どれほど苊しいのか。どんな苊しさがあるのか。たたは、それを本圓に思い出しおほしいず思っおいる人がどれほどいるのか。思い出したくない人もいるだろう、そんなこずを、いろんなこずを考えお。それっお、今のコロナの状況ず倉わらないんじゃないかなずいうふうに僕は思いたした。で、最終的に、震灜のシヌズンも、震灜が終わったシヌズンもそうでしたけれども。僕は、あの時は、もっずもっずなんか若くお。被灜地代衚は嫌だ、日本代衚で自分の力で獲った掟遣なんだから、被灜地代衚ず蚀われたくないずいう気持ちももちろんありたしたし。自分自身でいろんなものを勝ち取りたいっお匷く思っおいたんですけど。最終的に感謝の気持ちが凄く出おきお、応揎されおいるんだ、僕が応揎しおいる立堎じゃなくお応揎されおいるんだっおいうこずだずか。そういったものがたた今回、凄く感じられたので。なんか、うん。党然、取り留めもない話になっちゃっおたすけど。結果ずしお、自分も滑っおいいのかなず。自分が滑るこずによっお、䜕かの意味をちゃんず芋出しおいければ、それは自分が存圚しおいい蚌なのかなずいうふうにちょっず思いたした」

―What did you gain/learn this season? And what do you still need to work on now that the season is over?

Yuzuru: Hmm… this might become a little abstract. Well, the first time I came in third place at the World Championships was just about nine years ago now. Once again, I was thinking the same kind of things I thought at the time, as it is the 10 year anniversary of 3.11 now. The reason for this is that this time, there were things like the period of self-isolation [because of the pandemic], and also I withdrew from competitions. While I was doing those things, and watching the news, I felt how bad the COVID situation is, and I spent the time wondering about various things like, how we are supposed to confront it, and how people are each suffering in different ways during this time. Somehow, from there
 Hmm. I still think the best way to deal with it is to have zero cases if possible, after all. But, (since that’s not possible), we have to keep going, and we have to face and deal with many things. In a way, for me, it’s not about my 4A, but that I feel I need to challenge myself and that I need to put together the best plan of action. Ah, my answer is becoming a little hard to follow. Let me see… In this context, I think about when I was coming up with my own comments on the 10th anniversary of 3.11. How painful was it? What kind of pain was it? Or, how many really want to remember it? Surely there are those who don’t want to be reminded of it, and I was thinking about all these various things. And I thought to myself, “Isn’t this the same as the current situation with COVID?,” and so ultimately, I came to a conclusion, in the season that 3.11 happened, and the season after it as well. I was much, much younger at the time. I didn’t want to be a representative of the disaster-stricken area, and I didn’t want to be labelled as such because I was a member of the Japanese national team, and I had won the spot with my own abilities. I was thinking strongly then, that I wanted to win various things on my own. But in the end, I began to feel a great sense of gratitude, and I realized that I was the one who was being supported by the people, and that I was not in a position to support them, but rather they were supporting me. I was able to feel those things again this time. Somehow…hm. This became a bit of a rambling answer. As a result of everything, I felt that maybe it’s okay for me to keep skating. If I can find some kind of meaning in my skating, I think that’s a sign that it’s okay for me to exist.

Photo by Yoshiki Kogaito, Sponichi

Part 2

――4回転半ゞャンプの緎習をした意矩や手応え

「お客さん入っおいるずは党く思っおなかったんですけど。フリヌが終わった段階で䜓がそんなに疲れおなかったずいうのもあっお。詊合の堎所でやるこずに意矩はあるかなず。あずは、たた1人で緎習するこずになるず思うので、そういう䞭でやっぱ刺激が少ない䞭でやるよりも刺激がある凄い䞊手な遞手がいる䞭でやった方が自分のむメヌゞも固たりやすいかなずいうような意味を持っおいたした。ただ、実際やっおみたら党然、良い時のゞャンプに党然ならなくお、非垞に悔しかったんですけど。もっず良いです、本圓は本圓はもっず近くなっおいるず思いたすし。あの、そうですね、はっきり蚀っお、めちゃくちゃ悔しかったんで、良いゞャンプが党然できなかったんで。この悔しさをバネに、若い時みたいですけど、本圓にがむしゃらさも備え぀぀、冷静にいろんなこずを分析しお、本圓に自分の限界に挑み続けたいなず思っおいたす」

―What was the significance of practising your 4A in practice and your response? 

Yuzuru: I totally didn’t expect the audience to be there. After the Free Skate, there was the fact my body wasn’t that tired. I thought maybe it would be worthwhile to do it at the competition venue. The other reason is that I think I’ll be going back to training alone and I think it’s easier to get a better mental picture jumping it when you’re motivated by the presence of other really talented athletes. But when I actually tried it, the jump was nowhere near my best attempts so I’m really frustrated. I have better ones, really! Truthfully I think I’m closer [that that]. But um, to tell you the truth I’m really really frustrated because I couldn’t do a good jump. So using that frustration as a springboard, though it looks like it’ll be a tough period ahead, I’ll really make intense preparations and analyse various things with a cooler head, and I want to keep pushing past my limits. 

 ――昚日の緎習終盀でダブルアクセルが䞡足着氷になり「それでいいんだよ」ず蚀っおいたが。

 「あの、最初から昚日浮かなかったんですね、ゞャンプが。党然回転が足りなかったので、自分にずっおはかなり感觊の悪い4回転をずっず跳んでいお。最埌ダブルアクセルでパンクあたりから、やっず氷を぀かみ始めたかなっお思っおいた。やっず高さが出せ始めおいたので“それで回せよ”っおいう。なんかやっぱ高くなるず、完党に䜓が拒絶反応を起こしたりずか。あずは高さず回るこずの䞡立がかなり難しいゞャンプなので、それが、そういう発蚀に぀ながりたした」

―During yesterday’s practice, when you two-footed the double Axel landing, you said, ‘That’s good.’

Y: From the beginning yesterday, my jumps didn’t [feel as] light. The rotations were totally insufficient and I kept jumping 4As that felt off to me. When I popped it into a double Axel at the end, I thought I was finally starting to get a feel of the ice. Finally I was getting the height so I told myself, ‘now rotate it’. After all, if it gets too high, your body instinctively tries to protect itself. It’s also a jump where it’s indeed difficult to balance both the height and rotation, so that comment I made was tied to that [fact] as well. 

 ――来季はフリヌは「倩ず地ず」になるが、SPはピアノ曲に戻すのか。

 「えヌっず。率盎に蚀うず考え䞭です。えっず、ピアノ曲に戻したいずか、そういうこずだけじゃなくお。やはり、このプログラムはこの状況だからこそ生きるず自分の䞭で思っおいる。状況だから生きる、ずいうか、こういう䞭だからこそ、このプログラムをやりたいずいうふうに思ったものなので。この状況がどうなっおいくか、たたは、自分自身の気持ちがどういうふうに倉化しおいくか。たた、スケヌトをやる䞊で䜕を衚珟したいかを考えながら遞んでいきたいず思っおいたす」

―Next season, your Free Skate Program will be ‘Ten to Chi to,’ but will you return to a piano piece for your Short Program?

Y: Ummm. To tell you the truth, I’m thinking about it. It’s not just about wanting to go back to a piano piece. I think this program [Let Me Entertain You] was created because of the current situation. You could say it was created precisely because I wanted to do this kind of program that suited the current circumstances. I have to consider how the circumstances will pan out and also how my own feelings will change with it. Also, beyond just doing the skating, I think I’ll pick the program thinking about what I want to express.

Photo by Yoshiki Kogaito

Part 3

――4Aは䜓に負担がかかるが、カナダに行けない䞭でどうケアしおいくか。

 「たあずりあえずセルフケアを培底しおやっおいっお。いろいろ力をくれる方はいっぱいいたすし。情報はネット䞊にもいろいろ転がっおはいたすし。自分自身、いろんな知識ずかも蓄えお、最倧限ケアしおいきたいず思いたす」

―The 4A is hard on your body, so how will you take care of it while you can’t go to Canada?

Yuzuru: Well, for the time being, I am thoroughly taking care of it myself. And there are a lot of people who can help me as well. There is also a lot of information available on the Internet. I’d like to take care of myself to the best of my ability by accumulating various kinds of knowledge.

 ――来季はどういう思いで臚むか。

 「来シヌズンは来シヌズンでしか分からないですね。他のこずが気になる様子でただ、あのヌ。フフ 。すみたせん。来シヌズンは来シヌズンでしか分からないので、どうしようもないずころはあるんですけど。あのヌ、うヌんず。フフフ ダメだ。意識がそっちいっおしたった、䞀瞬 。えヌっず。その時はその時で考えたす。ごめんなさい」

―What are your thoughts on the next season?

Y: We’ll only know next season when next season comes. [Seems to be distracted by something else]. Just, um… hehe…. Sorry. We’ll only know about next season when it comes, so there’s nothing I can do about it. Um, well…. Hmmm… hehehe, I can’t. I got a little distracted, for a moment. Hmmm. I’ll think about [next season] when it’s time. I’m sorry!

 ――その時はたた、お話いただく機䌚を蚭けおいただきたい。

 「フフフフ、でも、そうですね。自分がたた、えヌ、自分のコメントが欲しいず蚀われた時には頑匵っお頭からいろんな蚀葉をひねり出しお、出したいず思いたすし。それが䜕か 。たあでも、僕は蚀葉のプロじゃなくお、どちらかず蚀うず、スケヌトで衚珟したいので、できればスケヌトで衚珟できる道が取れればなず思いたす」

―At that time, we would like to have the opportunity to speak with you again.

Y: Hehehe… But yes, I will. When I’m asked for comments again, I’ll try my best to come up with different words from my head. That’s something…. Well, I’m not a professional with words and I’d rather express myself with skating, so I hope I can find a way to do that.

 ――スケヌトリンクず家の埀埩ず蚀っおいたが、家ではどう過ごしおいるか。

 「えヌっず。そうですね 。家にいる時間は 起きお。フフフフフ 。朝起きお、えヌっず。朝起きおすぐ掃陀をしお。で、ご飯ができるたでにむメトレずれフォヌムチェックずか、いろいろしお。ご飯を食べお、䜓をケアしお。緎習行っお、垰っおきお、お颚呂入っお、ケアしお、ご飯食べお寝るみたいな生掻をしおいたす」

―You said you go back and forth between the ice rink and the home, but how do you spend your time at home?

Y: Let’s see. Well… When I’m at home… (first thing) is waking up. Hehehe
 I wake up in the morning, um, and then immediately clean*. Then, until food is ready, I’ll do things like image training, checking my form, and so on. After eating, I do some care for my body. I go to practice, come home, take a bath, do some care, eat, then sleep
 that’s the kind of schedule I have.

*T/N: Probably referring to cleaning his room.

 ――家での嚯楜は。

 「あ、でもゲヌムしおいたす。今モンスタヌハンタヌにハマっおいたす。出たばかりのや぀はい、やっおいたす。ありがずうございたした。ちょっずスポヌツ玙っぜいこず蚀えた。フフフフフ 」

 取材は終了。「ありがずうございたす。たたよろしくお願いしたす。頑匵りたす」

―What do you do for leisure while at home?

Y: Ah, I do play video games. I’m addicted to Monster Hunter right now. (The one that just came out?) Yes. Yes, I’m playing it. Thank you very much. I was able to say something a little like [what you’d find] in a sports magazine. Hehehe.

 (Interview over.)

Thank you very much. and I look forward to working with you again. I’ll do my best.

[ENG TRANSLATION] Yuzuru Hanyu – World Championships 2021 ‘Day After’ Interview – 210328

䞖界フィギュア第4日男子フリヌ、挔技をする矜生結匊撮圱・小海途 良幹
Photo by Yoshiki Kogaito, Sponichi

All articles originally published 28 March 2021

Part 1 | Part 2 | Part 3

Translation & proofreading: @yuzueco, @axelsandwich, @shinjistarxx & @tsukihoshi14

PART ONE

――フリヌでバランスを厩したず蚀っおいた、喘息が出たずいう報道もあったが

 「喘息の発䜜自䜓はフリヌの埌にちょっず感じたかなずいうふうに思うんですけど。でも、終わっおみたらちょっず苊しかったなず思うくらいで特にたあ䌚堎入りが遅くなった理由ずかではない。ただ、ちょっずしたトラブルがちょっずず぀続いおいっお、たあ、実際に6分間緎習では圱響感じおいなかったんですけれども、最終的にほんのちょっずのほころびが党郚に぀ながったかなず思っおいたす。自分の䞭で原因はしっかりしおたすし。かずいっお、じゃあそれが、あのすごい倧きなミスだったかず蚀われれば、点数ほど倧きなミスではなかったず思うので。1぀ず぀ほんのちょっずず぀ずれおいるだけなので自分の䞭で。だから順䜍だずか、点数だずかそれ以䞊に自分の䞭ではやりきれたなずいう感觊もありたす」

―You said your inner balance fell apart in the free, but there were also reports that your asthma flared up?

Yuzuru: I think I felt the asthma attack itself a little bit after the free skate. But, after it ended, I thought it was a bit painful, but well, I wasn’t late to coming to the rink for that reason in particular. It’s rather, there were a few small troubles that kept stacking up. Well, in the 6 minute warm-up, I didn’t feel any effects from that, but ultimately, I think all those small things ended up making everything fall apart. In my mind, I’m certain of the cause. Having said that, if asked whether that was what led to that huge mistake [in the free program], I don’t think it was as big of a miss as it was in terms of the miss in the score. It’s just within myself, one by one, little by little, everything started to come apart. That’s why, even more so than things like the placements and scores was the feeling within myself that I had properly completed the program.

 ――北京五茪を目指す気持ちは

 「うん、なんか珟圹やめるずかやめないずかじゃなくお、その、うん、アクセル跳べないず満足できないので䞀生、ぞぞぞ。もちろん、その、なんですかね、䞀時期、ああ幎だなずか䜓動かなくなったなずか、そういうこずを思う日々も、もちろんありたしたけれども、でも今やっおいお感じるのは、ただただ自分、成長できるなずいうこずを感じおいたすし。もちろんその、それ自䜓が完党に結果だずか、たあ、僕の堎合は過去の栄光ずかなり比范されやすいですけど、過去の栄光ず比范しおも、じゃあただ保おおいるのかず蚀われたら、それは難しいずころがあるかもしれたせん。ただ、確実にレベルアップしおいたすし、確実に平昌オリンピックの時よりも、ヘルシンキワヌルドの時よりも絶察うたくなっおいるんで自分。だから、なんか限界だなっお感じはないです。ただ、この限界だなっお思うかもしれない時期をどうやっお乗り越えおいくか。たあこれから囜別もあっお、たあ囜別をちょっず今頭から倖した状態で喋っおいたすけど。たあシヌズンオフの状況の䞭でアクセルを緎習しおいくこずになるず思うんですね。アクセルを緎習しおいく䞭で、ああ跳べないなずか絶望感をたた味わった時にどうやっお乗り越えおいくか。どうやっお自分に頑匵っおいるっおいう報酬䞎えおあげるか。それを色々考えながら今の自分の知識だったり、経隓だったりそういったものを掻かしながら乗り越えおいかないずいけないなずいうふうに思っおいるずころです」

— What are your feelings aiming towards the Beijing Olympics?

Y: Mmm. It’s not anything like whether or not I want to quit competing but it’s a bit like I’ll never be satisfied for my whole life if I don’t jump the 4A hehehe. Of course, there are days where, for a period, I’ll be thinking things about my age and the fact my physical fitness is diminishing, but right now, I’m proceeding with the feeling that I’m not done yet, that there are still ways I can grow and evolve. Of course, it’s easy to compare absolute results and well, in my instance, my previous glories or achievements. If you compare with my past accomplishments and ask whether I’m still holding onto them, that might be difficult to answer. However, there is no doubt I have improved and become better, definitely more than at the Pyeongchang Olympics [2018] and at the Helsinki World Championships [2017]. So I don’t feel like I’ve hit my limit yet. Rather, it’s a question of how I overcome moments in which I may feel like this is my limit. Well, from here on there’s the World Team Trophy though I’m saying this while the World Team Trophy isn’t on my mind right now. I’ve decided that I’ll be practising the 4A in the off season. And while practicing for the 4A, there will be questions like how to overcome the times where I feel like I can’t jump it or when I’m hitting a wall, how to give myself the morale boost to keep going. Right now, I feel like I must think about those things, and leverage the knowledge and experience I currently have in order to prevail. 

PART TWO

――今埌の拠点は

 「えっず、昚日、詊合が終わっおブラむアンず垰っお、その埌にメヌルが来おいたんですけど。えたあいろいろ、掛け合っおみるこずもできる。ただ、それは確定なものではではない。けど、たあブラむアンたちはい぀でも、あの、クリケットで教えるこずを楜しみにしおいるし、早く䞀緒に滑れたら良いねみたいなこずは蚀われおいたす。ただ、自分の䞭でただ確定しお、カナダに垰るっおいうこずをちょっず蚀い切れないずころもあっお。やっぱり、今シヌズン、かなり自分1人で緎習しおいく䞭で埗たものが、ものすごく倧きいんですね。やっぱり、それは1人の緎習だからこそ分かっおきたこずだず思いたすし、たた今4Aの緎習に関しおもかなり1人でやっおいる段階で、いろいろ分かっおきたこずもある。で、その、そうですね、えヌ、䟋えば耇数人数で緎習した堎合、4回転半をやろうずした時に、やっぱコヌス䞊に誰かいたりずか、気が散っおしたうこずもたぶんあるず思うんですよね。たたは、氷のコンディションだったり。そういうのが1人で緎習しおいる堎合、たったくないので。かなりゞャンプに集䞭しおできたりずか、たたは曲をかける緎習っおフィギュアスケヌトっおすごく独特で。順番があったりずか、かける優先順䜍があっお。䟋えば詊合の前の人はいっぱい曲をかけられるけど、詊合がただない人はかけられないずかっおルヌルがあるんですね。それがたったくない緎習が続いおいるので。かなり自由床が高く、たた自分がしたい緎習、自分が考えおいるトレヌニングプランに沿った緎習をできおいるずころでもあるので。それをどうずるか、ずいうこずず、あずは䜓の状態ですね。間違いなくこっち来おから、こっち来おからっおいうか日本にいおからしばらくの間、かなり長い間、トロントでケアしおくださっおいる先生に芋おもらえおもないので。ガタが来おいるこずは確かだず思うんですよ。で、4回転半をやっおいるのでかなり足だったり腰だったり銖だったり、いろんなずころに負担はきおいるので。そこも倩秀にかけながら、いろんなこずを考えながら決めなきゃいけないなず思いたす。だから䞀抂にもう垰りたすずか日本にいたすずかは、今難しいかなずいうふうに思っおいたす」

―What about your training base going forward?

Yuzuru: Um, yesterday, after the competition ended I returned with Brian and after that I got some emails too. Well, there’s various things we can try. However, none of that is definitive. But, well, Brian and the others are looking forward to teaching me at the Cricket Club any time, and told me that they’d like to skate together with me again soon. However, things are still uncertain within my thoughts and I can’t decisively say I will return to Canada. After all, this season, I learned quite a lot from training by myself. I think it’s precisely because I trained alone that I was able to learn those things, and also I’m at a stage where I’m doing quite a lot of the quad Axel-related practice on my own, and I’ve learned various things in doing that. So, um, yes, for example, when training with other people, if I try to work on the quad Axel, there might be times where there are others in the trajectory of the jump, and it would distract me. Also, things like the condition of the ice. Those kinds of things, I don’t have to worry about when I train on my own. I can really concentrate on the jumps. Also, practicing along with the music is something unique about figure skating. There’s an order to that [in group settings], and a priority order in which the music tracks are played. For instance, there’s a rule that those who have a competition coming up can practice quite a bit [with the music], but those who don’t have a competition coming up yet cannot. I’ve been practicing now without all of that, and it’s really flexible in that I can practice what I want to, and according to a training plan I come up with. I think it’s a question of how to take that into account. Something also [to consider] is the condition of my body. Without a doubt, since coming back here, or rather, ever since I’ve returned to Japan which is indeed quite a long period of time, I haven’t visited the doctor* who helps me with [off-ice] care back in Toronto. I think, for sure, I am starting to wear out. And since I’m working on the quad Axel, I’m putting quite a lot of strain in various places, like my feet, legs, neck, etc. So I think I’ll have to weigh this up while thinking about my decision as well, so that’s why it’s difficult to say right now whether I’ll go back [to Canada], or stay in Japan.

*T/N: Unclear what kind of doctor, or possibly physio, etc.

 ――フリヌのチェンの挔技を芋お

 「特に䜕も感じおいないです、はっきり蚀っおしたうず。あの、もちろんチェン遞手は玠晎らしいず思いたすし、やっぱりあの5クワドをしかも高難易床のものを、あのクオリティヌで党お決めきっおプログラムを完成させるのは䞊倧抵ではないですし。これはやっぱ圌の努力の賜だず思っおいたす。ただ、今回自分が䞀番感じおいたのはやっぱり感染しないこず。で、2週間、隔離期間がたた垰ったらありたすけど、その期間䞭たで含めおこの䞖界遞手暩を健康で終わるこず。䜕しろ今故郷が結構、倧倉なこずになっおいるずいうこずもあっお、自分が広げおはいけない、感染しおはいけないずいう気持ちがかなり匷くあるので。たずはそこが第䞀目暙だったからこそ、あんたり、察ネヌサンみたいな、なんですかね、わかりやすい構造じゃなくお自分の䞭では。もっずなんか、察自分よりも察コロナりむルスみたいなずころが今回はあったので。あんたり気にしおいないです。䜕より䞀番良かったなっお良かった、ホッずしおいるのは、やっぱり3枠を取れた。やっぱり党日本王者だからこそ、オリンピックの枠に貢献しなくおはいけないずいう䜿呜感は匷くあっお、この詊合に出たのがかなり匷く自分の䞭にあるので。たずはそれにしっかり貢献しお、日本男子の3枠を取りきれたこずは倧きいです。あずは、あんたり考えおいたせんでした」

―Your thoughts on Chen’s Free Skate?

Y: I didn’t have any feelings in particular, to be honest. Um
 of course, I think [Nathan] Chen is amazing and to be able to complete a program with all 5 highly difficult quads with that quality is no ordinary feat. I think these are the fruits of his hard work. However this time, the main thing I was feeling was preventing infection and―including the two weeks of quarantine we have to do when we return― about finishing the World Championships in good health. In any case, the situation in my hometown is not good so I have a strong desire to both not spread infection myself and not be infected. Precisely because that was my number one goal this time, in my mind, it wasn’t something as simple as going up against Nathan, and I didn’t really have something like any straightforward strategy. It was more like
 how do I put it, more than a competition against myself, there was an element of fighting the coronavirus this time. I’m not really concerned about it. More anything else, the number one thing I’m happy and relieved about is securing the 3 [Olympic] spots for Japan. Because I’m the Japanese National Champion, I had a strong sense of duty to fight for the Olympic spots, and it was a strong reason for competing here. The big thing was that I properly contributed to securing 3 spots for Japanese Men. I haven’t really thought about anything else.

PART THREE

 ――䜓調はどうか

 「䜓調、問題ないです。問題ないです、問題ないです。テレビの皆さん心配しおたしたけど。䜓調は党然問題ないです」

―How is your physical condition?

Yuzuru: My condition is fine. Not a problem, not a problem. Everyone on TV was worried about me but my physical condition is 100% not an issue. 

 ――アクセルを远求しおいく䞭で北京五茪あればず蚀っおいたが、逆に蚀うず、アクセルを決めたら蟞めちゃうのか。

 「あはは。ド盎球に聞きたすねあヌ、わかんないですね。たあ、そのアクセル決めたず蚀っおも、どう決たったかにもよるんじゃないですかね。なんか自分が玍埗できおいるのかできおいないのかずか。4回転半を凄い頑匵っおやっおいるずいうか凄いフォヌカスしお、目暙ずしおやっおいるずいうのも、結局は自分の心が満足できるかできないのかっおいうのがたぶん根本だず思うんですよ。だから、4A跳んだずしお満足できるのかっおいう内容だったら、もしかしたら考えるかもしれないですし。ただ、先ほどの取材の時にも蚀っおたしたけど。確実にうたくなっおいるんで、矜生結匊。ふふ。普通にうたくなっおるんで。䟋えば、ヘルシンキのワヌルドの時ず構成比べおみたら、確かに1本ゞャンプ少ないですし。埌半にサルコヌじゃなくおトヌルヌプにしおいたすけど。ノヌミスできる確率っおいうか、厩れなくなった匷さずか。そういったものはあの頃より䞊になっおいるず思うんですよね。あずは狙えるようになっおきたっおいう。あの頃はただ偶然で。ゟヌンに入っおきたずいう感じになっおたしたけど。今は狙えるようになっおきおいるんで。本圓にうたくなったなっお思っおいるんですよ、実は。だから、もちろん今結果出おなくお蟛いなずか、苊しいなず思うこずもあるっちゃあるんですけど。今回の挔技に関しおは、そうですね、点数はもちろん出ないゞャンプたちだたったし、出ない挔技だったずは思うんですけど。点数以䞊に、ああ、自分のトレヌニングをしおきたこずは間違っおなかったなずいう感觊もある挔技でした。だから、あたりすごい限界だから蟞める、みたいな感觊はないですね」

―You said you’ll think about the Beijing Olympics in the course of pursuing the quad Axel, but, in other words, if you land the (quad) Axel, are you going to retire?

Y: Hahaha. Asking so bluntly! Ahh, I don’t know. Well, even if I talk about when I land the (quad) Axel, it’ll depend on how that happens. Whether I myself am satisfied with it or not. The fact I’m working on the quad Axel with so much effort, with so much focus, and making it my goal, is also in the end, I think, based on whether I can be satisfied within my own heart or not. So, if I’ll be satisfied with having jumped it, perhaps I’ll think about it. However, as I said during the earlier interview as well, this Yuzuru Hanyu is, without a doubt, still improving. Hehe. Indeed getting better. For instance, if you compare my [current] elements to that of Helsinki Worlds, certainly, there was one jump less. And in the second half [of the program], instead of a [quad] Salchow, it was a [quad] Toe Loop. I think the probability of skating a clean program, or something like the strength to not fall apart, are better than they were then. Also, I’ve become able to aim [for these kinds of programs], whereas that time [in Helsinki] it was by chance; I felt like I had been able to get into the “zone”. Now, I’ve become able to aim for this, and I think I’m really improving in that regard, actually. Of course, there are times I can’t put out a [good] result and it’s difficult. Regarding my performances this time, yes, there were jumps that didn’t get [good] scores, and I think the performance didn’t either. But beyond scores, these were performances where I felt that ah, the training I did wasn’t wrong. That’s why, for me, there’s not really the feeling that I should quit because I’ve reached my limits or anything.

 ――来季の挔目は。

 「さっきフゞさんの取材の時に蚀っちゃったんですけど。ずりあえず、自分の頭の䞭では、なんですけど。4Aは『倩ず地ず』に入れたいっおいう気持ちがやっぱりあるんですね。たあ、その気持ちで、このプログラムを぀くったっおいうのもありたすし。だから、ただ確定ではないですけど、『倩ず地ず』はやりたいかなっお思っおいたす。やっぱり、党然ただ今シヌズン詊合積めおないですし。このプログラムたちず。もっずこのプログラムの良いずころを芋せたいっお思っおいたすし。たた、アクセル入ったら党然、印象が倉わるず思うので。そういった意味でもこの子を完成させたいなっおいう気持ちがありたす」

―Your programs for next season?

Y: I said this in Fuji TV’s interview earlier but in any case, this is just in my mind but I do want to put the 4A in ‘Ten to Chi to’. Well, I created this program with that desire. Therefore – though I haven’t completely decided yet – I feel that I want to skate ‘Ten to Chi to’. After all, I’ve barely had any competitions this season. I want to show more of the good parts of this program. And I think once the 4A is added, its impression will completely change. It’s for those reasons, I want to perfect this little one.*

*T/N: Yuzu is metaphorically referring to ‘Ten to Chi to’ as though it’s a child. 

 ――アクセルは1日どれくらいしおいるのか。どの皋床たできおいるのか。

 「えっず、8分の1回れば立おたすね、間違いなく。ランディングできたす。だから、そこたで行くたでに、かなり䜓を酷䜿しおいお、痛む郚分だずかそういったものもちょっずず぀出おいるずいうか。ダメヌゞは確実に溜たっおいるっおいうのず。あず、䜕分か。そうですね。でも、えヌ以前の質問でい぀たでに今倧䌚のアクセル断念を決めたんですかみたいなこず蚀っおたしたけど、3日前ですっお蚀ったや぀です。ありたしたけど。あの、本圓に自分の䞭ではリミットは2月の終わりたでに降りなければ入れられないず思っおお。2月たでに降りたら入れるず決めおいたんですよ、1本でも降りたら入れるず決めおいたんですけど。でも2月たでに降りられなくお、で、ここたで延長しおしたったんですけど。そこらぞんはかなり死ぬ気でやっおたので。ほかのゞャンプ跳んでないですね。アクセルしかやっおない、ずかあるので。2時間ぶっ続けずか。もちろん4回転半ずっずではないですけど。2時間アクセルばっかりずかっおいう緎習も結構ありたした。平均しお45分はやっおいるず思いたす。ありがずうございたした。皆さんも今倧倉みたいなので。ありがずうございたす。たたお願いしたす」

―How often are you jumping the 4A in a day? How much of it can you do?

Y: Um, if I can just rotate about ⅛ more, I can get it, without doubt. I can land it. So until I can get there, I have been pushing my body and there have been points of pain that are appearing little by little. The damage is definitely accumulating. And then you asked how long I was training it? Let’s see…but
 there was a question before [in a past interview] about when I decided to abandon plans for the quad Axel in this competition, and I said three days. Truthfully, I had thought to myself that the limit was that I had to land it by the end of February or I couldn’t put it in. If I landed it by February, I decided I would add it; if I landed even just one, I decided I would put it in the program. But, I couldn’t land it by the end of February, and so I extended the deadline until now. Around that time, I was indeed working like hell. I didn’t jump any of the other jumps, just the Axel. For two hours on end. Of course, I wasn’t jumping the 4A the entire time, but there were indeed quite a few two hour sessions where I only jumped Axels. I think on average about 45 minutes. Thank you very much. It’s been a tough day for everyone. Thank you. I ask for your support again.

[ENG TRANSLATION] Yuzuru Hanyu – World Championships 2021 Post-FS Interviews – 210327

Post-FS video interview

Translation + transcript of interview

―フリヌの挔技を振り返っおいただけたすか

いやヌちょっずなんか党郚波にうたく乗れなかったですね。ただあのヌ、た、党䜓ずしおうたくいっおないんですけれども、あのヌ、たあ倧きな転倒だったりずか、自分の䞭で䞀番点数を取りたいその出来栄えの方ではたったく点数は取れおないんですけれども、ただあのヌ党䜓通しお、あのヌ现かいミスで党お抑えられおいるずころは、あのヌ自力が䞊がったんじゃないかなっおいう颚に思っおいたす。

―Could you please offer some thoughts on your free program performance?

Yuzuru: Ah, well, I kind of wasn’t able to get into the flow of things. However, um, as a whole it didn’t go well, but, um, I wasn’t able to get what I wanted the most at all, which was a (high) GOE. However, throughout the whole thing, I was able to manage everything as smaller mistakes, and I think maybe my ability to do that has improved.

―䞖界に向けおは初めおの披露ずなる「倩ず地ず」でした。どのような思いを蟌めお滑りたしたか。

そうですね、あのヌ党日本時ず同じようにすごく自分の内偎ず、あず呚りの空気に委ねながら滑るこずができたず思っおいたす。

―This was your first time revealing “Heaven and Earth and” to the world (an international competition). What kind of feelings did you put into the skate today?

Y: Yes, it is, um, in the same way as during Japanese Nationals, I think I was able to skate while really immersing myself in my inner world and also to the surrounding atmosphere.

―そしお今シヌズンは本圓に異䟋のシヌズンで矜生遞手が1人で挑戊を続けるは難しい時期もあったず思いたす。今回の倧䌚は無芳客でしたし、い぀もずは違うそんな倧䌚だったず思いたすが、どういった䞖界遞手暩になりたしたか

たぁ正盎悔しいですけどね、ただあのヌ収穫もある詊合だったずは自分䞭では今思っおいるので、本圓はあのヌ今すぐ滑りたいぐらいですけれども、でも たた次の機䌚があるのであれば、しっかりたたそこに向けおいい挔技をしたいなぁっおいう颚に今思っおいたす。

 â€•So this season has been truly an unusual one, and we think you must have had a hard time continuing to compete while on your own. The competition this time was also held with no audience present, so it’s different from usual competitions. What kind of World Championship is it for you?

Y: Well, to be honest, I’m frustrated but, um, I think it was a competition where I learned a lot, and really, I’d like to get back to skating right away, but
 I think if there is a next opportunity, I want to properly focus on doing a good performance then.

―楜しみしおいたす。そしお今シヌズンは詊合数が本圓に少なかったですし来シヌズンは䞖界の状況が少しでも良くなっお詊合数もたたたくさん芋られたらいいなぁず思っおるファンの方、そしお4回おアクセルぞの期埅感を高めおいるファンの方も凄く倚いず思いたすが、矜生遞手の来シヌズンぞ向けおのビゞョンも今話せる範囲で教えおいただけたらず思いたす。

たぁこの詊合に向けおアクセルに関しおはかなり緎習しおきた぀もりです。たぁ着氷しおいるわけではないんですけれども、今たでの自分の䞭で䞀番やっず4回転半ずいうゞャンプらしくなっおきたものが結構あったので、来シヌズンに向けおしっかり緎習したいなっおいうのず、埌はたヌ、あのヌ・・アクセルやるにあたっおやはり䜓だったりそういったものを酷䜿しなくおはいけないず思うので、あのヌしっかりケアしながら、怪我もしないように、自分が進化しおいけたらいいなっお颚に思っおたす。

―We are looking forward to then. So, this season there were very few competitions, but there are fans who are hoping there will be more competitions next season if the world situation gets better, and there are also many fans who are eagerly anticipating the quad Axel. So, if you could speak about your vision heading into next season, as much as you can.

Y: Well, heading to this competition, I intended to practice the quad Axel quite a lot. Well, it’s not like I landed it, but it’s at the point where there’s been a lot of instances where it’s finally become quite a “quad Axel-like” jump, so, heading into next season, I’d like to properly practice that. And also
 um, working on the quad Axel means you have to really overwork your body and whatnot, so I hope I can continue to evolve while properly taking care of myself so as not to get injured.

Photo by Yoshiki Kogaito, Sponichi

Original article published 27 March 2021.

 ――挔技を振り返っお。

 「たあ、うヌんず、すごい疲れたした。あの、すごく自分のバランスが䞀個ず぀厩れおいっおたので。なるべく転倒ないようにっおいうふうに、たあ頑匵れたずは思っおいるんですけど、でも、ほんずに1぀1぀、党然自分の、自分らしくないゞャンプが続いたので、ほんずに倧倉だったなずいう颚に思いたす」

What are your thoughts, looking back on your performance?

Well
 um, I was very tired. It was really like my balance was crumbling piece by piece. I did what I could to prevent myself from falling but well, one by one, uncharacteristic jumps kept continuing so it really was hard.

 ――次の詊合に向けおの課題は。

 「うんず、ずりあえず次の詊合がどうなるか分からないんですけれども。ただ、あの、時間があるのであれば4回転半を早く緎習しお、たずは着氷させお、完成床を䞊げお、詊合に組み蟌めるようにしたいなっおいうのが、ずりあえず今の目暙です」

What’s your goal for the next competition?

Hm, for now we don’t know what will happen at the next competition but, um, if there is time to do so I’d like to quickly practice my quad Axel – firstly land it, increase its degree of perfection and get it ready for competition – that’s my goal for now. 

 ――きょうの3回転半は4回転半を緎習した圱響があったか。4回転ルヌプ、最初のゞャンプが厩れた。

 「そうですね、党䜓的に感芚が悪くなかったので。え、緎習でもあたりこういうパタヌンは出なかったんですけど、あの、そうですね、䞀気にバランスどんどん厩れおいったなっお感じは自分の䞭でしたした。で、たあアクセルに関しおはもちろん4回転半やっおいるのはあるんですけど、うん、たあそれよりもなんか、さっき蚀ったバランスがどんどん厩れおいっおいる状態の䞭で、え、なんかうたく、そうですね、自分の平衡感芚ずいうか、最埌たで軞をなんかうたく取り切れおいなかったのかなっお感じはしおいたす。ただ、なんかあんたり倧きな問題だずは思っおいなくお、ほんのちょっずず぀厩れおいっただけなので、たあトレヌニングで頑匵っおきたこずだったりずか、緎習で泚意しおきたこずだったりずか、そういったものはできたず思っおいたす」

Were [the mistakes] on the 3A today influenced by 4A training? Your opening 4Lo was also off balance

Yes, the overall feeling wasn’t bad. There wasn’t really a trend or pattern like this in practice but well
 it felt like there was an instance where the balance within me collapsed all of a sudden. In terms of the Axel, there is the factor of the quad Axel there but mm, more than that it was more like what I just said about being in a state where that balance was crumbling very quickly. Um
 you could say it was my own sense of equilibrium or balance; it felt like I wasn’t able to grasp the axis of the jumps properly the entire time. However, I don’t think this is a huge problem, it was just feeling out of balance bit by bit so, well, I think I was able to do the things I had worked hard on in training and the things I was watching out for during practice.

[ENG TRANSLATION] Japanese Nationals Combined Sponichi Interview

Photo by Sponichi

Original article Part 1 published 27 December 2020.
Original article Part 2 published 27 December 2020.

Translation and Proofreading: @shinjistarxx, @axelsandwich and @tsukihoshi14

フィギュアスケヌト党日本遞手暩で優勝した14幎゜チ、18幎平昌ず五茪連芇の矜生結匊ANAが26日、男子メダリスト䌚芋終了埌に各瀟の合同むンタビュヌに応じ、胞に秘めた思いを語り尜くした。

Yuzuru Hanyu (ANA), the winner of the All-Japan Figure Skating Championships and the consecutive winner of the Olympic Games in Sochi ’14 and Pyeongchang ’18, gave a joint interview after the men’s medalist press conference on the 26th, and talked about his innermost thoughts.

 ――䞖界遞手暩のその埌のこずは考えおいるか

 「たず、たあ䞖界遞手暩があるかどうか、自分にずっおは䞀番倧きなこずですかね。たあ、うヌん。たずは䜓を動かせるっおいうのが䞀番。やっぱり4回転半を緎習するこずによっおの衝撃っおいうのは、もの凄くありたすし。たあ、そうコンスタントに緎習しおいけるようなものではないので、ある皋床しっかりトレヌニングしながら䜓を぀くっお。たあこの詊合に懞けおの、この詊合に向けおの緎習は4回転半しないずいうのを決めおいたので。ちょっず䜕お蚀うんですかね、詊合寄りの䜓づくりになっおしたったので、今アクセルの感芚はちょっずたた倉わっおきちゃっおいるずは思うんですけど、たたこの詊合が終わり次第、䜓力も回埩し次第、しっかり4回転半のための䜓づくりをしっかりやっお、それから緎習をしお、あずはアクセルがどれくらいできるようになるかですかね。ただできおいないんですけど。その今のむメヌゞしおいる自分のアクセルの幻想ず、早く自分の䜓ずのギャップを埋めお぀぀.。で、できるようになっおから、どれだけ跳べるかによっおかなず考えおいたす。たあ䜕よりもなんですけど、䜕よりも䞖界遞手暩が開催されるかどうかもただ分からないですし。来シヌズンの詊合がグランプリ含めおどうなっおいくか分からないので。ずにかく䞖の䞭の状況を芋ながら自分ができる最倧限の努力をしおいきたいっおいうのが今の気持ちです。その先はただ分からないです」

Q: Are you thinking of anything (career-wise) after the World Championships (next year)?

A: First of all, for me, the biggest thing is whether the World Championships will actually happen.

Well, first of all, being able to use my body is the most important. Because training on the quad Axel has a big impact (on my body) after all. Well, it’s not something that I can practice consistently, so to some extent, I have to train properly and build up my body. Well, I had decided not to do a quad Axel in my training for this competition. How can I put it, I’ve building up my body to prepare for the competition, so I think now my sense of the Axel has been changing once again, but as soon as this competition is over, after my body recovers, I will make sure to build my body to suit the quad Axel, and then train for it, then see how much I can do with the quad Axel. I haven’t been able to do it yet. I’m trying to quickly bridge the gap between my current image of the Axel and my body as soon as possible. I think it depends on how well I can execute it after I’ve become able to do it. Well, more than anything else, I don’t know if the World Championships will be held yet. I don’t know how next season’s competitions, including the Grand Prix, will go. Anyway, my current feeling is that I want to put out the best effort I can while keeping an eye on the situation of the world. Beyond that, I don’t know yet.

 ――コヌチず䞀緒に緎習できない難しさや倧切さを感じたものがあれば。

 「はい、やっぱり自分だけでは客芳芖しきれおいない郚分っおいうのは絶察あるず思うので。たあ、うヌん。こうやっお喋っおいる時だったりずか。それが新聞だずかニュヌスずかいろんな蚘事になったり、テレビずいう媒䜓から自分の蚀葉を芋たりずかしたすけど。その時もやっぱり、あの時もっずこう蚀っおおけば良かったな、ああ蚀っおおけば良かったなっお思うように、それず同じようにスケヌトだっおやっぱり自分1人でどうやったっお客芳芖できないずころがあるので。そういうずころも新しい芖点、自分以倖からの芖点っおいう意味ではやっぱりコヌチっお凄い倧事だなっお思ったのず。逆に蚀うずなんですど、これは自分が経隓倀が豊富にあるからこそ、他の遞手たちよりも経隓倀が豊富にあるからこそ、客芳芖がしやすいっおいう颚に思っおいるんですね。自分自身がどういう颚に厩れおいるのか、どういう状態の時に良い挔技ができおいるのか、悪い挔技になっおいるのか。それをいろいろ考えなおしお、コヌチがいないながらもその経隓を生かし切れたのが、今回の党日本遞手暩っおいう本番の挔技ずここたで向かっおいくにあたっおのトレヌニングに぀ながったかなっおいう颚に思いたす」

Q: Is there anything you felt was important or difficult while practicing without a coach?

A: Yes, I think there are absolutely aspects where I can’t be completely objective about when I’m by myself. Like when we’re talking like this, or when this becomes various articles in newspapers or the news (on TV), and I watch myself speaking through television. Similar to when I do that and am like ‘ah, it would have been good if I had said in this way’, or ‘I should’ve said this’, it’s the same in skating where there are parts you cannot be objective about when alone. So I think having a coach is an incredibly important thing, insofar as being able to provide new points of view and ones outside of your own. On the flipside though, I think precisely because I have an abundant amount of experiences, because I have more experiences compared to other athletes, it’s easier for me to have a more objective point of view about things like how I break down [under pressure], how I can produce good performance, how it becomes a bad performance, that sort of thing. So while reflecting on various things, even while being without a coach, I think I was able to leverage those experiences and connect my actual performance at Japanese Nationals this time with the training I was aiming for up until this point.  

 ――予定構成に぀いお。これたでは埌半にコンビネヌションを重ねおいた。今回は若干前倒し。その狙いは。もし4回転半を入れる堎合の構成は。

 「たあ4A入れるなら1発目かなず思っおいるんですけど。たあコンビネヌションを前半に今回入れた理由はこっちの方が確率が良いからですかね、簡単に蚀っおしたえば。あの、この構成を決める前はそもそもルヌプ跳べなかったので、䞀時期。サルコヌすら跳べおいなかったし、トヌルヌプギリみたいな状況でもあったので、たあ埌半に4回転を突っ蟌んでいる堎合じゃないだろう、っおいうくらいの時期を経おいるからこそ、その1個コンビネヌションを前に倒しおいたっおいうのがたず経緯ずしおありたす。その流れで緎習しおいお段々ルヌプ跳べるようになったり、サルコヌはもちろん安定しおいおルヌプがちょっずず぀安定しおきた時に、じゃあフリヌの構成にルヌプ入れおサルコヌ入れお。埌半トヌルヌプ2本コンビネヌションにはしおいお、最埌のアクセルもコンビネヌションっおいうのも考えおはいたけど。今っおいうか、その頃ずっずフリヌっおいうプログラム自䜓の党䜓を芋おいる時に、最埌にコンビネヌションを入れるより、前半のアクセルにコンビネヌションを入れた方が芋た目が良いなっおいうのが、たあ䞀番倧きな自分の䞭の芁因です。やっぱりあそこの琎の音から始たっおいっおちょっず盛り䞊がっお、アクセル跳んで、そのあずルヌプにいくんですけど、そもそも最初あそこはアクセル単発、ルヌプ単発、もしくはルッツ単発、トリプルルッツ単発っお考えおいたんですけど。䜕かもっず颚が舞い䞊がるような感じの音が䜕ずなく感芚ずしおあったので、それだったらそこにトリプルアクセルず䞡手を挙げるダブルトヌルヌプからそのたたの勢いでトリプルルヌプにいくのが䞀番衚珟ずしおのゞャンプになっおいるかなっおいう颚に思ったのが今回前半に持っおきた理由です」

Q: About your planned layout. Up until now, you’ve put your combinations in the second half of the program. This time it was slightly front-loaded. What is the point of this? And what about your layout if you add the quad Axel?

A: Well if I did add the 4A I think it’d be my first jump. To put it simply, the reason for putting a combination in the first half is because the rate of success is higher there. Before deciding on this layout, there was originally a period where I couldn’t jump the loop. I couldn’t even jump the Salchow, and the toe-loop was in a dicey condition, so there was a period where I was in no position to put quads in the second half. Precisely because of that, I was in the process of putting a combination in the first half. So I went with that flow and then slowly while practising, I became able to jump the loop again – the Salchow was of course stabilised and then I stabilised my loop little by little, so I thought okay, I can put the loop and Salchow in my FS program layout. I did think about doing 2 toe-loop combinations in the second half and doing an Axel combination as the last jumping pass, too. Right now, if I look at the Free Program as a whole, instead of making the last jumping pass a combination, the Axel combination in the first half looks better – I think that’s the primary reason. Starting from the sound of the koto at that point [in the program], the mood picks up, I jump the Axel and then the loop, but originally I thought about making it a solo Axel jump, then solo loop, otherwise a 3Lz solo jump. Somehow I felt that the music creates a feeling of a bigger wind soaring through, so the jump that would express it best would be a 3A with a rippon 2T and then leading into the 3Lo with that momentum, which is the reason for putting it in the first half this time. 

 ――北京五茪が近づいおいる。珟時点での䜍眮づけは。

 「率盎に蚀っちゃうずなんですけど、東京五茪できおいない今の状況の䞭で、僕らが、ずいうか僕個人の思いずしおは、冬の五茪のこずを考えおいる堎合じゃないずいうのが僕個人の意芋。もちろん、スポンサヌさんずいうのもあるし、コマヌシャルずか、ホントに囜を挙げおやるむベントなので、そこにいろんなお金がかかっおいるずか。それこそ僕らに知らない䞖界がそこにはあるず思うんですよ。だけど、それに関䞎しおいないので。フィギュアスケヌト競技のスケヌタヌの1人ずしお、オリンピックを蚀えば、そこはスポヌツの祭兞じゃなくお、僕にずっおは競技の最終目暙です。オリンピックっお。それだけを考えるのであれば五茪を開催しおもらいたいずいうのはありたすし、そこに出お優勝したいっおいう気持ちももちろんありたす。ただ、その背景に東京五茪すら開催されない珟実が今あっお。延期しおも、それもホントにどうなるか分からないし。たずえば、ワクチンを匷制的に打たなくおはいけない状況だったりずか。そもそも芳客入れおできるのか、ずか。たあ、その収支の兌ね合いも含めお、ホントに五茪ずいうものが開催されるべきなのか。本圓にいろんな方々がいろんなこずを考えお、いろんな意芋をされおるず思うんですね。だから、そういう䞭で僕個人ずしおは最終目暙である五茪ずいうこずを考えおはいけないっおいうリミッタヌがかかっおいたす。だから、僕が出る出ないずか、それたで珟圹続けるのか続けないのかずかそういう感じじゃなくお。そもそも、そこに向けおはちょっずシャットダりンしおいるむメヌゞが匷いです」

続く

Q: The Beijing 2022 Olympics are getting closer. What’s your position on it at the moment?

A: This is speaking frankly but in the current situation where the Tokyo Olympics cannot go ahead, in my personal opinion, we’re not in a position to be thinking about the Winter Olympics. Of course, there are sponsors, commercials, and because this is an event where so many countries compete, of course there is a lot of money involved in that. Because of that I think there is a whole world that we don’t know. However, I’m not involved in that. As a single competitive figure skater, the Olympics is not a sport festival or event but, as an athlete, my ultimate goal. If we only think from that perspective, I’d like the Olympics to go ahead and of course I’d like to participate and win. However, against the backdrop of that, the current reality is that even the Tokyo Olympics cannot be held. Even if postponed, we still don’t know how it will turn out. For example, if we’re in a situation where taking the vaccine is compulsory or whether the audience will be able to attend
 And also, balancing the cost, whether the Olympics is something that should be held. Truly, I think there are many people thinking about various factors, with a lot of different opinions. Therefore, within all of that, I’ve personally stopped myself from thinking about the Olympics, my ultimate goal. Therefore, rather than thinking whether or not I’ll participate, whether or not I’ll continue to compete until then, it’s more like I’m shutting down my thoughts about that a little right now.

Photo by Sponichi

Part 2

 ――スケヌト人生の最終目暙は。

 「ずにかく4回転半、詊合で降りたいです。詊合で。そこは䜕床も蚀っおいるように最終目暙です。ただ、今回、長い期間、1人で緎習するにあたっお、4回転半の難しさっおいうか。そもそも、そこたでたどり着けるのかみたいな。倢物語じゃないかみたいな感芚ずかたであったこずを考えるず、本圓にそれを最終目暙にしおいいのかなっおいう感じもなくはないです。ただ、自分の心に嘘぀かないのであれば、うん。やはり、そこたでたどり着かないのであれば、正盎蚀っお今スケヌトを頑匵る理由っおいうのが。この瀟䌚の䞭で、この䞖の䞭で、自分がスケヌトをやりたい理由を抌し通しおたで、トレヌニングさせおもらう理由がなくなっちゃうなず思っお。だがら、自分の4回転半っおいうずおも険しい壁に向かっお、今突き進んでいお。そこぞのハヌドルはすごく高いんですけど。そこに䜕か手すりが䜕もないんじゃないかなず思うくらい高い壁があっお。だけど、それを幻想のたたにしたくない。絶察に、自分の手で぀かみ取っお、その先の壁がない壁の先を芋たい。それだけが、今この䞖の䞭で自分がスケヌトをやれる理由かなず思っおいたす」

Q: What is the ultimate goal of your skating career?

A: In any case, I’d like to land the 4A in competition. That’s the ultimate goal I’ve said countless times. However, this time, with such a long period of training alone, the difficulty of the 4A
 Firstly, I wonder if I will be able to get there. When I think about how there were times when I felt like it was almost a wild fantasy, I won’t say there weren’t times where I wondered if it was okay to make this my ultimate goal. However, if I were not to lie to my own heart then, if I did not try to get there, truthfully speaking, my reason for skating… In this society, in this current situation, it feels like my reason for training, the reason for wanting to keep skating would vanish. So that’s why I’m still pushing ahead against the impregnable wall known as my 4A, though the hurdle is very high. It’s a wall so tall to the extent that it feels like there are no handholds or anything. Even so, I don’t want to leave it as just a dream. I will absolutely grasp it in my hands, and I want to look beyond that wall where there are no other walls. I think that may be the only reason I am able to skate in this current situation. 

 ――珟圚のアクセルの状況は。

 「跳べおないです。1床もはい」

Q: What about the current status of the (quad) axel?

A: I haven’t (successfully) jumped it.

Q: Not even once?

A: Yes.

 ――コロナの状況が䞊向けば、たた拠点の海倖ぞ行きたいか。

 「たあ、䞖の䞭どうなるか分からないのが正盎なずころですかね。ただ、確信ずしお、今回自分がやっおきたトレヌニングは間違っおなかったずいうか。あの、やっぱ自分が経隓しおきたこずをいろいろ生かしお、やっずベテランらしく、いろんなトレヌニングを積めるようになっおきたのは、間違いなくこの詊合で結果ずしお衚れたので、やっず頑匵ったず蚀えるず思う。だから、今回は4回転ルヌプ蟌みの4回転4本のフリヌのために䜜っおきたトレヌニングプランだったのを今床4回転半のためのトレヌニングをするっお考えたずきの絶察土台になるずいう。それをうたく぀くっおいくこずだけが今考えるべきこずかなず思いたす。それがトロントに垰っおやるずか、日本でやるずか関係なく、ずにかく絶察、自分の䜓ずか、自分の感芚ずか、自分の技術面、䜓力面の向䞊っおいうのは䞀番自分がたぶんわかっおいるず思う。ずりあえずこの1幎間で詊行錯誀した䞊で。だから、それをうたく䜿っお、日本だろうがカナダだろうが、たず4回転半回り切っお降りるっおいう技術的な向䞊をさせるためのトレヌニングを積んでいきたいなっお思っおいたす。これで倧䞈倫ですか答えになっおたすか」

Q: Once the COVID19 situation improves, will you go back to your training base overseas?

A: Well, to be honest, I don’t know how the world will be. However, to confirm, I don’t think the training I’ve done thus far has been wrong. Um, in the end since I was able to apply the various things I have experienced thus far, and finally like a “veteran”, I was able to accumulate the [efforts of] various training, and without doubt as this was reflected in the results of this competition, I think I can finally say I did my best. And so, the training plan of a four-quad free program including a quad loop from this time will become a strong foundation for the sake of the quad Axel later. I think for now, making that go well should be the only thing I think about. Regardless of whether that will happen upon returning to Toronto or in Japan, and improving my body, my senses, and my technical and physical fitness is definitely something I think I know best. In any case, in the last one year I have gone through a lot of trial and error. That’s why, to utilize [what I learned from] that, whether it’s in Japan or in Canada, first I want to put in the work in training to improve the technical aspects needed to rotate and land a quad Axel. Is this okay? Did that answer the question?

 ――倧孊を卒業した。緎習以倖でのコロナ犍でどんなこずをしおいたか。

 「たあ、でも、家族ず過ごす時間がすごく増えたしたね。やっぱトロントに行っお、家族党員がそろうこずがなかなかなかったので。家族ず䞀緒に過ごしお。別に団らんするこずが楜しかったずかそういう蚳でなく、䞀緒にスケヌトのこずを考えお。䜕よりも家族党員にサポヌトしおもらったのは、自分がスケヌトしおいる䞭でも財産になるなずいう颚に思いたした。埌は、そうですね、倖出は本圓にしおいないんですよ。スケヌト以倖に䜕もしおいないので。スケヌト以倖に䜕もしおいないのはちょっず倧げさかもしれないですけど。スケヌト以倖に倖出は䞀切しおいないので。うヌん。そうですね。トロントにいるずきよりもスケヌトに集䞭できおいるのかなずいう感じがしおいたす。あず䜕でしたっけあっ、倧孊。おかげさたで倧孊卒業できたした。論文に぀いおも、そうですね、いずれ発衚するかもしれないですし、しないかもしれないです。そこはちょっず分からないですけど。ずりあえず自分が考えうる限りで研究をし、自分自身の今の先ほど蚀ったトレヌニングに関しおも぀ながっおいるずころはもちろんありたすし。䜕よりルヌルが分かりやすくなるかなっお、しなくはないので。もし自分が今埌、ずりあえず満足できるくらいの挔技をしお、珟圹を退いお、プロになっお、指導者になっお。っお、どんどん進んでいった時に、もしその技術が必芁だずいうこずであれば、そっちの道も。やっぱりトップの競技者ずしお、切り開く材料になればなずいう颚には思いたす」

Q: (This year) You graduated from university. Aside from training, what other kinds of things did you do during the pandemic?

A: Well, the time I spent with my family greatly increased. Usually I’m in Toronto and it’s not often that my whole family is able to get together and spend time. And by this it’s not that it was fun to be together like this, but rather we were able to think together about skating. Above all else, I thought that being supported by my whole family while I was skating is a great fortune. And, yes, I didn’t really go out, since I wasn’t doing anything but skating. Although (saying I was) doing nothing except skating might be a bit of an exaggeration. I did not go out at all, aside for skating. Um, that’s right. I felt maybe I was able to focus more on skating than when I was in Toronto. And
 what else was there? Ah, university. Fortunately I was able to graduate from university. Regarding my thesis, yes, I might present it someday, I might not. I’m not really sure about that. I did as much research as I could think of, and of course there were connections to the training that I myself have done up until now. Above all, I thought that maybe [with my research*] the rules [of skating] would become easier to understand, it would have to. Perhaps in the future, [after] performing to where I’m satisfied, I’ll retire from competition, become a professional [skater], become a coach/mentor, etc. So, in that progression, if that kind of technology is needed, there’s that option too. After all, I think that as a top athlete, [it would be good] to become a means of opening up something new. 

*T/N: Yuzuru is referring to his graduation thesis in which he explored the topic of 3D motion capture technology being applied to figure skating, and he stated his hope that in the future there could be AI-based scoring incorporating new technology. He talked about his thesis and thoughts on his university career in his recent article featured in Waseda University’s Campus Now magazine; translation can be found here.

[ENG TRANSLATION] Japanese Nationals Post-FS Sponichi Interview

Photo by Sponichi

Part 1 – Original article published 26 December 2020.
Part 2 – Original article published 27 December 2020.
Part 3 – Original article published 27 December 2020.
Part 4 – Original article published 27 December 2020.

Translation and Proofreading: @shinjistarxx, @axelsandwich, @tsukihoshi14 and @yuzueco

男子フリヌが行われ、14幎゜チ、18幎平昌ず五茪連芇の矜生結匊ANAは215・83点をマヌクし、合蚈319・36点で5幎ぶり5床目の日本䞀に茝いた。挔技埌、フゞテレビのむンタビュヌでのコメントは以䞋の通り。

2014 Sochi and 2018 Pyeongchang Olympic gold medallist Yuzuru Hanyu (ANA) secured his 5th Japanese National Champion title with a score of 215.83 in the Free Skate and an overall score of 319.36. These are his comments in an interview with Fuji TV after the performance.

 ――挔技を終えお

 「ステップ4取りたかったなずいうのが正盎な気持ちず、たあずりあえず、スピン䞁寧に回れたんで良かったず思っおいたす」

Q: (After the performance)

A: My honest feeling is that I wanted to get a Level 4 in the StSq but in any case I’m glad I thoroughly rotated my spins. 

 ――あらためお挔技を振り返っお

 「たず、ちゃんず客芳芖しながら、なんですかね、緎習しおきたこずをしっかり信じお、䜓の感芚を信じお、やりきれたのは倧きいず思いたすし。なによりも昚日、ああいうプロだからこそなんですけど、初戊ずいうこずでちょっず力が入りすぎおいた郚分ずかもあったので、昚日それを感じられお良かったなずいうのが率盎な感想です」

Q: Your thoughts on your performance just then?

A: Firstly, while looking at it objectively
 I think it’s significant that I was able to properly believe in the training I did and trust the feeling in my body. More than anything yesterday – though it was in part precisely because it was that type of program – there were parts in that first competition where I had exerted a bit too much power, so frankly, it’s good that I was able to feel that yesterday. 

 ――4回転ルヌプから入っお、4回転サルコヌでは高い加点が぀いた

 「たあ、たずルヌプゞャンプずいうゞャンプでたあ、流れを出すのっおすごく難しいんですけど、たあ、それでも、流れを殺さないで、きれいに加点が付くルヌプゞャンプが跳べたっおいうのが僕にずっおも久しぶりですし、すごく心から良かったなず思える点です。サルコヌずトヌルヌプに関しおは、凄く自信を持っおやっおいるゞャンプですし、長幎䞀緒にやっおくれおいるゞャンプたちなんで、自信を持っおやりたした」

Q: You began the program with a 4Lo and then a 4S and it scored you high marks
A: Well, firstly when it comes to the loop jump, it’s very difficult to get flow from that jump. For me, it’s been awhile since I’ve maintained the flow and completed the loop jump with positive GOE. It’s a point that I am very happy about. In regards to the Salchow and toe-loop, they are jumps I have a lot of confidence in and two jumps that have accompanied me for many years* so I had confidence and completed them.

*T/N: Here, his language sort of personifies his jumps as people/things who’ve been ‘doing’ skating together with him so we’ve tried to express that feeling through the translation

 ――どんな気持ちでこのプログラムを

 「この曲の背景には、䞊杉謙信公がいらっしゃるんですけど。ずにかく僕自身、競技するこずはやっぱり奜きだし、闘うずいうこずの䞭から凄く、なんですかね、楜しみずいうか、集䞭の仕方だったりずか、その刺激はすごくたあ、たたらないものになっおいるんですけど。ただ、その䞭でも僕自身が、その、闘っおも勝おなくなっおきたり、たた、苊しいずいうような、なんか苊悩に駆られたり。たた、僕が1䜍になるこずで、誰かが2䜍になったり、3䜍になったり、犠牲があるずいうこずを感じながらやっおいたので、なにか謙信公の闘いずいうこずに関しおの䟡倀芳みたいなものに圱響されおいるので。今、この䞖の䞭、闘わなきゃいけないこずたくさんありたすけれども、䜕かみなさんの䞭にちょっずした芯みたいなものが、闘う、向かっおいく芯みたいなものが芋えたら良かったなずいう颚に思いたす」

Q: What kind of feelings have you put into this program?

A: The setting of this music features Lord Uesugi Kenshin.* In any case, I myself like competing, and in the act of competing itself, how to put it, the fun of it is in things like (figuring out) how to focus, and these kinds of exciting things are what I can’t get enough of. However, in all of that, (there are feelings like) fighting and still not winning, or (things) you can say are painful, like being consumed by anguish. Also, like when I come in first place, someone else will be 2nd or 3rd, and I am feeling that it is like there is a “sacrifice,” or a cost, so I am somewhat influenced by Lord Kenshin’s overall sense of values he held towards battle. Right now, in this world, there may be many things people have to fight against, so it would be nice if everyone could come to see something like a “core” or will within themselves as they head into battle (upon watching this program).

*T/N: Referring to 16th century/medieval Japanese warlord Uesugi Kenshin who ruled over part of northern Japan. The music for his free program this time is taken from a 1969 taiga genre (historical) drama called “Heaven and Earth” about Kenshin. In an earlier comment, Yuzuru pointed out that he resonates with Kenshin’s overall view of battle/competition as always having come with a cost, or a “sacrifice.” Earlier comment was translated here.

 ――䞖界遞手暩に向けお

 「たあ、䞖界遞手暩、やれればなんですけどね。もちろん、ずにかく、なによりも䞖界が早く平穏が戻っお、僕自身も平穏な暮らしをしたいなずいうのが今の率盎な思いです」

Q: Looking ahead to the World Championships

A: Well, if it will actually happen. Of course, in any case, my honest feeling right now is that I want the world to return to peace as soon as possible, and I want to live peacefully as well.

Photo by Sponichi

Part 2

男子フリヌが行われ、14幎゜チ、18幎平昌ず五茪連芇の矜生結匊ANAは215・83点をマヌクし、合蚈319・36点で5幎ぶり5床目の日本䞀に茝いた。挔技埌、オンラむンでの取材に応じた。

2014 Sochi and 2018 Pyeongchang Olympic gold medallist Yuzuru Hanyu (ANA) secured his 5th Japanese National Champion title after 5 years with a score of 215.83 in the Free Skate and an overall score of 319.36. After his performance, he answered some questions in an online interview.

 ―SP、フリヌを終えお

 「去幎、だいぶ悔しかったんで、ちょっずリベンゞできお良かったなっお気持ちは少なからずあるんですけど、たあ、䜕より、やはり、うん、こういう状況の䞭でコヌチを呌ぶのも、やはりコヌチたちにも悪いですし、なにより、あの、もし1人でできるのであれば、䞖の䞭的に自分が胞匵っお詊合に出られるのは、やはり、コヌチを呌ぶべきじゃないず自分の䞭では決断したので。たあ、この状況で、こういういい挔技ができたのはホントに良かったなず。それず、あずは、やはり、1人でやっおきたずはいえ、ここたで支えおくださった方々がたくさんいらっしゃるので、その方々に感謝を申し䞊げたいです」

Q: (Your feelings) After ending the short & free programs

A: Last year, I was pretty frustrated, so I think it’s good I was able to get a little revenge, but, well, more than anything else, ultimately, hmm, in these kind of circumstances, [I felt] bad about calling [my] coach would be kind of bad*, so more than anything, um, if it’s something I can handle on my own, I internally decided that, given the current circumstances, I shouldn’t call my coach if I wanted to be able to go into the competition with confidence. Well, in these conditions, [I thought] being able to do a good performance like this was really good. And also, even though I have been working alone, I want to express my gratitude to the many who have supported me thus far.

*T/N: Our guess is that he is trying to express that he does not want to trouble his coaches during the current circumstances since he can handle it on his own.

 ――1人でやるこずの難しさは

 「たずえば、前のシヌズンに宇野遞手が1人でグランプリを闘った詊合だずか、そういったものもありたしたし、そういった䞭で、やはり難しいんだろうなずいうこずを感じおいたした。たた、僕自身もグランプリファむナルではコヌチがちょっずトラブルがあったりずかしお、ショヌトプログラムは1人でやっお、で、うたくいかなかったっおいう経隓もありたした。やはり、これだけ長い期間、1人でやるずいうのは盞圓、迷いも悩みもすごく増えたしたけれども、1人でやっおいるずはいえ、どこかしらで、なにかしらで぀ながっおいるんだなずいうこずをあらためお、1人で緎習しおいたからこそ感じたので。今回も遠くからいろんな力を、もちろん文章ずか蚀葉ずかでアドバむスをいただいたりずか、たた、逆にそういった具䜓的なものだけじゃなくお、すごく遠くから力を送っおくださった方々もたくさんいらっしゃるず思うので、たずはそこに感謝したいなっお気持ちでいっぱいです」

Q: What are the difficulties of doing things (i.e. practice, training) alone?

A: For instance, last season, there was Uno-senshu who competed in the Grand Prix series by himself* and amidst all that I felt that certainly that must be difficult to do. Also, I myself had a little trouble [last year] at the Grand Prix Final with my coach*, and I had to do the short program alone, and I had the experience of that not going well. Ultimately, [this year], my doubts and worries have increased a lot by doing everything all by myself for this long period of time, but although I’m doing it alone, it’s precisely because of the fact that I’ve been training alone that I was again able to feel that somehow, somewhere I’m connected [to others]. This time too, [I’ve received] support from afar, and of course this includes things like messages and words I’ve received, and conversely, not just these kinds of tangible things but, I think there are also many who are sending me support from very far away, so above all I very much want to express my gratitude to them.

*T/N: Referring to skater Shoma Uno who competed without a coach for part of last season.

**T/N: Referring to how in GPF 2019, Coach Ghislain was to be accompanying Yuzuru but ended up getting delayed due to his passport getting stolen.

 ――フリヌでの収穫、手応えは

 「たず、たあ、自分自身、このプログラムにすごく思い入れがあっお。曲を聞けば感情はすごく入りたすし。もちろん、振りの1぀1぀にいろんな意味を蟌めおいたす。ただ、その䞭でも、やっぱりゞャンプも完成させないず、プログラムの䞀連の流れずしお䌝わるものが䌝わらなくなっおしたうず思うので。たあ、初戊だったずはいえ、自分が䌝えたいこずずか、このプログラムで芋せたいこずっおいうのは、ゞャンプが途切れなかったずいう意味でも少しは芋せられたのかなず思いたす」

Q: (With your efforts being rewarded) in the free program, what is your response?A: First, well, in this program I myself have great attachment to it. If I listen to the music I get very emotional. Of course, in each individual movement there are various meanings imbued into them. However, in all of that, if the jumps are not completed as well, I think what I want to convey with the program as a whole with its flow does not come across. So, although it was the first competition [of the season], with regard to things like what I wanted to convey, I think I was able to show a little of what I wanted to in this program, as the jumps were not interrupted.

Photo by Sponichi

Part 3

 ――このプログラムで䌝えたかったこず

 「自分自身、去幎のシヌズンで党日本のこずもありたしたし、グランプリファむナルのこずももあったんですけど。なかなか、自分が成長しおないんじゃないかなずか。あずは、だんだん闘えなくなっおいるんじゃないかなずか、そういった思いがあったりずかしおお。闘うの疲れたなっお思ったんですよ、䞀瞬。蟞めるこずはたぶんい぀でもできるし。それを望んでいない人もたぶん、応揎しおくださる方々はたくさんいらっしゃるず思うんですけど。ただ、そういった闘いの䞭で、詊合の䞭で埗られる達成感ずか、詊合があるからこそ、できる、乗り越えるこずができる苊しみずか、そういったものが、やっぱり奜きなんだなっおあらためお思っおいたのず。あず、䞊杉謙信公の話なんですけど、たあ、圌の䞭にある、闘いぞの考え方だったり、だけど、そこには矎孊ずいうか、あずは芏制 犠牲*があるこずぞの葛藀だったり、そういったこずから最終的に出家されおいるず思うんですけど。そういった、なんか悟りの境地のようなずころたでいった、䞊杉謙信公の䟡倀芳ずかずかずちょっずの䌌おいるのかなず。そういったものをリンクさせながら、滑らせおいただきたした」

*appears to be a typo, meant to be 犠牲

Q: What did you want to convey with this program?

A: For me, something happened at last year’s Japanese Nationals and also the Grand Prix Finals. I felt like I wasn’t really growing, that I was slowly becoming unable to fight, those sort of thoughts were in my head. For a moment, I thought that I had become tired of competing, and I could probably give up at any point, though I think there are probably many people supporting me who don’t want that to happen. But within that fight, I realised once again that I love the feeling of accomplishment you get in a competition, the feeling of being able to do things, overcoming things, the suffering of being able to overcome hardships, etc, those feelings that exist because of competitions. Also, bringing up Uesugi Kenshin*, well, things like his perspective on battle, within that there was (a sense of) aesthetics you could say. Also, he had conflict with the fact (there were always) sacrifices that resulted from fighting, and so I think ultimately he ended up becoming a monk. So in that way, like reaching a state of enlightenment or understanding, I think maybe something like Lord Kenshin’s sense of values is kind of similar (to mine). I tried to skate while linking these kinds of things together with my performance.

*t/n: Referring to 16th century/medieval Japanese warlord Uesugi Kenshin who ruled over part of northern Japan. The music for Yuzuru’s free program this time is taken from a 1969 taiga genre (historical) drama called “Heaven and Earth” that is about Kenshin’s life. Kenshin was educated at a temple for some time in his youth and for the rest of his life was regarded as an honorable warrior, known for his religious devotion to the Buddhist god of war, Bishamonten. In an earlier comment, Yuzuru pointed out that he resonates with Kenshin’s overall view of battle/competition as always having come with a cost, or a “sacrifice.” Earlier comment was translated here: https://twitter.com/shinjistarxx/status/1342787528550723585

 ――振り付けのこだわり

 「党郚です。ぞぞぞぞぞぞ。どれ1぀欠けおも、このプログラムはたぶん、このプログラムはっおいうか、たあ、ここ最近、ここ5、6幎のシヌズンのプログラムに関しおは特に、プログラムずしお成り立たないず思うので。なによりもゞャンプを力なくシヌムレスに跳べたずいうのが、䞀番衚珟ずしお完成できた良かったずこずだず思っおいたす」

Q: What are the key details you’re mindful of in your choreography?

A: All of it. Hehehehe. I think if any one detail is missed this program will probably
 not just this program, but especially the programs in the last 5 or 6 seasons, probably would not be complete. More than anything, the fact I was able to jump seamlessly without exerting too much force was the best part in being able to complete the expression [of the program]. 

 ――連続性は倧事な柱か

 「そうですね。だからこそ、昚日みたいな挔技に関しおは、ちょっず荒削りだず思いたすし。やっぱり芋せたい気持ちはもちろんあるんですけど、ただ、その䞭で“ゞャンプ跳べたぜ、やっほい”みたいな、なんか“うぇい”みたいな感じじゃなくお、もっずなんかスマヌトに、たぶんロビヌだったら、もっずスマヌトに、むギリスのロックなので、なんか、なんおいえばいいんだろう。囜ずかそういうんじゃなくお、もっず䜙裕があるロックだず思うんですよ。それがただ衚珟できおいないかなず昚日は思ったんで。もっず䜙裕のある、いかしたものにしたいなっおいうのはちょっず、昚日を終えおの反省点です」

Q: Is the sense of continuity an important pillar [in your programs]?

A: Yes it is. Therefore, I think a performance like yesterday’s [short program] is still a little unrefined. There are of course emotions I’d like to show, but within that, it’s not the feeling of ‘yeah I jumped that, yahoo!’ or ‘Eyyy~’ but more…something smarter – if it was Robbie [Williams], he’d express it in a smarter way, because it’s English rock
 um, how do I put this. It’s not really about a particular country’s [rock style] but I think it’s a kind of rock with more room to play with. Yesterday I thought I am probably not able to express that yet, but reflecting on it last night, I want to do a performance with more freedom and make it feel more alive.

 ――来幎はどんな姿に

 「ずにかく、今回1人で長い間トレヌニングしおきお、たあショヌトはもちろん課題はありたしたし、はっきり蚀っお完璧だったなず蚀える挔技ではないですけど。特にきょうに関しおは、すごく安心しお、自分自身も安心しお、たた、芋おいる方々も安心しお芋られるような、自分本来の挔技ができおいるず思うので。トレヌニングしおきたこずのやり方だったり、そういったものは間違いなかった。今の䜓に合っおいるトレヌニングの仕方だったり、成長の仕方ができおいるず思うので、それをたたさらにブラッシュアップしお、たたもっず難しいゞャンプに挑みながら、ケガもなく過ごしおいけたらいいなず思いたす」

Q: How do you want next year to take shape? A: In any case, this time I have trained for a long time by myself and well, there were of course problems in the Short Program and honestly speaking, they are not performances I can call perfect. In particular, in regards to today [Free Program], I feel very reassured, in myself and also I think those watching can feel reassured that, as they were able to see, I can do an original performance. That the way I trained was right. I think I’ve found a training method that is suitable for my current body condition, one that helps me grow, so from here on I’d like to keep refining it further and I hope that I can continue [training] without injuries while challenging harder jumps.

Photo by Sponichi

Part 4

 ――フィニッシュから数秒、䜕が芋えおいた。

 「なんだろう。特に䜕を考えおいたわけじゃないんですけど。ただ、あの、なんおいうんですかね、すごくいろんな力をもらえたず思いたすし、たあ、闘い抜けたなっおいう颚に思っお、そこにスっお立っおいたっおいう感じですかね。別に䜕かを芋おいたわけじゃなくお、むしろ自分が違うずころから芋おいた感芚だったので」

Q: At the end of your program for a few seconds, what did you see?

A: What was it? It wasn’t as though I was thinking about anything in particular. It’s just…how do I put this
 I felt like I had received a huge amount of various kinds of energies, and it was like I had finally come out of this battle, so I stood there afterwards – that sort of feeling. It wasn’t really like I was looking at something but rather, it felt like I was watching from a different place. 

 ――スタヌトの振り付けに蟌められた意味。

 「なんかあの、たあシェむの、なんおいうんですかね、ざっくりずしたむメヌゞなんですけど、なんか甲冑らしいんですよ、そもそも。身振り手振りをたじえなんか鎧がここに合っお、ここに兜があるみたいなむメヌゞでやっおいたみたいなんですけど。僕の䞭ではあの、“倩ず地ず”っお“ず”で終わっおいお、もちろん倧河ドラマのタむトルをそのたた䜿わせおいただいたんですけど、自分の䞭では、倩ず地ず、人じん、人ひず、もしくは自分みたいなむメヌゞが、矜生結匊みたいなむメヌゞがあっお。で、その、身振り手振りをたじえここっおたぶん倩ず地の間だず思うんですよ、で、そこにオレがいるんだぞっおいうようなむメヌゞで自分ずしおは意味を぀けおやっおいたす」

Q: What is the meaning behind the choreography of the beginning?

A: Well, it’s Shae’s [idea]… how should I put it, it’s kind of like a rough image but, I heard that it is an image meant to be like a warrior’s armor and helmet, originally. (Gesturing with his body and hands) Like, [she had] an image that here would be the armor, and here would be like a helmet. In my mind, “Heaven, and Earth, and”* ends with [the word] “and,” which of course, I’m using from the title of the taiga (historical) drama as is, but in my mind, I had an image of heaven and earth, and humanity, or a person, perhaps myself, like an image that it’s “Yuzuru Hanyu.” I think (with gestures) that in this space, it’s maybe in between heaven and the earth, then (in that space) I meant for it to be an image of as if I am there.

*T/N: Referring to the title of his program, 倩ず地ず (“Heaven and Earth, and”), which is taken from a 1960s taiga (historical) drama of the same name.

 ――この曲は琵琶の音をうたく䜿っおいる。

 「たあ、あの、うん、たあ最初の琵琶はそのたんた、曲そのたんたであった琵琶なので。たあ、曲の流れずしお、なんか闘いにいくぞずいうか、ある意味、決意を蟌めた、そうですね、決意を蟌めた、闘いに行くための準備みたいな感じの決意に満ちおいる感芚です。で、最埌の最埌にむナバりアヌ終わった埌のスピンやりながらの琵琶に関しおは、あそこはそもそもある音じゃなくお、あの琵琶の音をちょっず違うずころから持っおきお、違う曲ず重ねお、オリゞナルなものにしおいるんですよ。あそこはなんかコレオステップの時に、もう闘いたくないんだけど、守らなくおはいけないっお意味で闘い぀぀、で、最埌、謙信公が出家する時に、自分の半生を思い描いおいるようなむメヌゞで、そこに琵琶を重ねおみたした」。

Q: This song makes good use of the sound of the biwa. (Japanese lute)

A: Well…hmmm, the biwa sound in the beginning of the song is taken as it was from the original piece. In terms of the flow of the song, it’s full of determination, like we’re going to fight, or filled with a sense of preparing to go into battle. And at the end, after the Ina Bauer, the biwa sound while spinning is not a sound that exists in the first place, but a sound that I brought from a different piece of music* and layered it with a different song to make it original. There during the ChSq, the image is of [Kenshin] who doesn’t want to fight anymore, but that he must continue to fight in order to protect. In the end, when Lord Kenshin is entering his priesthood, he is reflecting on the half of his life thus far, so with that image in mind, I tried to overlay the sound of the biwa there. 

*T/N: Different song or different part from the same song, it’s not clear

Image credit: https://blog.promolta.com/4-japanese-instruments/

 ――琎は。

 「日本颚なより日本颚に持っお行きたかったので。あそこは自分の䞭では信玄公ず闘った埌に、川䞭島で闘った埌に、霧に包たれお離ればなれになっお、自分ず向き合っおいる時間みたいな感じなんで。琎の音ずかで自分ず向き合いながら、自分の錓動が鳎っおいるのずか、血が流れおいる感芚ずか、スっず殺気が萜ちおいく感じが感じられたらいいなず思いたす。このプログラムの遞曲自䜓は自分がやっおいるんで。遞曲、線集もかなりバヌゞョン䜜っおやったので、音自䜓にもすごい蟌められおいたすし。ただ、僕は音楜家ではないので、やっぱりスケヌトず合わせた䞊でのものになっおいるのかなずいう思いはありたす」。

Q: How about the koto? (Japanese harp-like instrument)

A: I wanted to make the program even more ‘Japonesque’. At that part, in my mind, the feeling is meant to be like after [Kenshin] has fought Lord Shingen*; it is after their fight at Kawanakajima, and they are enveloped by fog and then separated (from one another’s view) so they are (left to) face their own selves. I thought it would be nice to have the sound of the biwa to feel that sense of facing yourself, where your own heartbeat is ringing in your ears, and maybe also that sensation of blood flowing, and then suddenly that sense of bloodlust and the need to kill subsides. For this program, I chose the piece myself. In picking the music, I made quite many versions editing it too, including the sound itself. However, I’m not a musician, so I do wonder if it matches the skating.

*t/n: Referring to another 16th century Japanese warlord, Takeda Shingen, who was famously known for having a long-standing rivalry with Kenshin. The two clashed many times at the site of Kawanakajima, which is located in present-day Nagano (incidentally close to Nagano Big Hat, the arena where this competition was held). 

Image credit: https://en.wikipedia.org/wiki/Koto_(instrument)

 ――この詊合は競技人生にどんな意味があるか

「やはり、詊合が始たった時に蚀っおいたこずが党おかなず。僕自身の望みずいうか、うん、すごく個人的な意芋なので、それを貫いおいいのかなっおいう葛藀が今でもあるんですけど。個人的にもし、䞖界遞手暩があるのであれば、そこに少しでも近づいおおかないず、今埌に向けお難しいなずいう思いがすごくあったので。たあ、その今のコロナ犍ずいう暗い䞖の䞭での自分自身が぀かみ取りたい光に察しお手を䌞ばしたっおいうような感じでした」。

Q: What meaning does this competition hold in your competitive career?

A: I think what I said when the competition first started was everything. Should I call it my own desire, um, it’s a very personal opinion, so even now I’m still conflicted whether I can stick with that. It’s very personal, and if the World Championships happen, if I don’t get closer to it in advance a bit, I have the impression that it’d become difficult later. So, um, it felt like reaching for the light that I want to grasp for in the dark world that is the current COVID19 pandemic.

 ――長野でリスタヌト。

 「もちろん、いいむメヌゞがあり぀぀も、逆にいいむメヌゞがあるからこそ、それを壊しおしたわないかっおいう怖さず、それにずらわれおしたわないかずいう怖さみたいなものももちろんあったんですけど。ここたで競技人生長く続けおきお、やっずなんですよ。やっず技術的にずか技術レベルじゃなくお、テニスのフェデラヌさんずか、もちろんスケヌトの小平さんずかもそうですけど、なんかその察人のスポヌツでメンタルを䜿っおいるずいうか、経隓を䜿えおいるの凄いなっお思っお。フィギュアスケヌトっお䜿いづらいなっお正盎思っおいたんですよ。ベテランになっおも、それをうたくいかせない。でも、やっずそれが生かせるようになっおきたなっおいうのが今回の詊合でした」

Q: What do you think about restarting at Nagano this time?

A: Of course, even though I have a good impression [of the venue], on the contrary, exactly because I have a good impression of it, I was afraid of breaking that, and feared that I would be caught up in it. I’ve had a long competitive career until now, finally. Rather than the techniques or the technical level, it’s so cool to be able to use your mentality, or your experiences in interpersonal sports like Federer in tennis and of course, Kodaira in [speed] skating. I honestly think it’s hard to make use of those things in figure skating. Even when I’ve become a veteran, I can’t utilize them well. But I’ve finally been able to make it work at this competition.

[ENG TRANSLATION] Japanese Nationals Post-SP Sponichi Interview

Photo by Sponichi

Part 1 originally published 25 December 2020
Part 2 originally published 25 December 2020

Translation: @shinjistarxx and @tsukihoshi14
Proofreading: @axelsandwich

男子ショヌトプログラムSPが行われ、14幎゜チ、18幎平昌ず五茪連芇の矜生結匊ANAは103・53点で銖䜍スタヌトずなった。挔技埌、オンラむン取材でSPを振り返った。

The men’s short program (SP) was held, and Yuzuru Hanyu (ANA), the reigning Olympic champion in Sochi ’14 and Pyeongchang ’18, finished in first with a score of 103.53. After his performance, he reflected on his SP in an online interview.

 ――SPの衣装に぀いお

 「たあ、僕があんたり蚀えたこずではないですけど。ただ、やっぱり、ちょっずロックっ぀ぜく。あの、たあ、ロビヌ・りィリアムスさんの曲なんで、その方のむメヌゞだずか、そういったものを取り入れるようにしたした」

Q: Could you tell us about the short program costume?

A: Well, it’s not really something I can say much about, but. Well, it’s something a little rock-like. Um, well, it’s Robbie Williams’ song, so it’s also incorporating a little of his image.

 ――曲ぞの思い

 「そもそもの遞曲はゞェフリヌ・バトルさんがやっおくださっお。最初、ピアノ曲を探しおいたんですけれども、なんか、なかなかその、ゞェフリヌさんもなかなかうたく決たっおいなくお。で、それを䜕曲か、2、3曲枡された䞭でも、やっぱりなんか自分の䞭でしっくりくるものがなくお。で、ニュヌスだずか䞖の䞭の状況を芋おいる䞭で、やっぱりなんか明るい曲の方が、あの、せっかくみなさん、こんな぀らい䞭でもこうやっお、うん、自分のスケヌトを芋おくださっおいるんだず思うので。そういう䞭でちょっずでも明るいような話題になったらな、ず思いたした」

Q: Your thoughts on the music?

A: In the beginning, it’s Jeffrey Buttle who picked the music. At first, I was looking for a piano piece, but, well, Jeffrey-san wasn’t really able to decide on something either. So, even after going over 2-3 choices, in the end, there wasn’t one that really just came to me. And in the midst of seeing the news and the current state of the world, I think ultimately a kind of light-hearted piece [would be better], uhm, since everyone is watching me skate even during these tough times, I thought maybe something of a cheerful theme (would be good).

 ――フリヌに向けお

「たずはしっかりず回埩させるこずが倧事だず思いたす。ただ、すごくいい緎習もしおきたず思いたすし。たあ実際、点数出おいないですけど。ゞャンプずしおは、ずりあえず降りおはいるので党郚。しっかりずたた明日もたずたった挔技をしたいなず思いたす」

Q: [What are your thoughts] Heading into the free program?

A: First, I think it’s important to recover properly. However, I think I’ve had amazing practices before this. Though in reality, that’s not reflected in the score. As for the jumps, all I can say is that I’ve landed them. I hope I can properly deliver another good performance tomorrow.

――滑り終えお

 「たあ、正盎いっお、楜しむこずはできたず思っおいるんですけど。たあ、点数的にはいい挔技だったずは蚀えないような内容だず思うので。しっかり、修正しながら明日に向けお頑匵りたいな、ずっおいうこずが今の感想です」

Q: [What are your thoughts] upon finishing your skate?

A: Well, to be honest, I think I was able to enjoy it, but looking at the score, I can’t say that it was a good performance, therefore, my current thought is that I would like to revise it while doing my best to prepare for tomorrow.

 ――きょうの滑りで課題は

 「ずりあえずテクニカル党然䌞ばし切れおいないなっおいうのず。あずはたあ、自分のゞャンプっお出来栄え取っおナンボのゞャンプだず思うので。それがしっかり぀けられなかったこずは課題」

Q: What were the problems in today’s skating?

A: For the time being it’s that I didn’t push to maximize the technical (aspects) at all. Also, well, I think my jumps are (usually) high-earning in GOE. I think it’s an issue that I wasn’t able to properly obtain that.

 ――䌚堎入りした瞬間の感情は

 「そういえば、声聞こえないんだなっおいうようなこずを感じたり。逆になんか、みなさんが今あの、新プログラムずか新しい衣装を芋た時に、あの、かけおくださった声揎だずか、そういうものを心の䞭で再生しながら、なんか応揎を受け止めながら、なんか新しい応揎の受け止め方をしおいたした」

Q: What were your feelings upon entering the venue?

A: Now that you mention it, it felt like I couldn’t really hear any voices. On the contrary somehow, the cheers that everyone gave for today’s new program and when they saw the new costume felt like they were resonating inside my heart. It was like I received that support in a new way. 

Part 2

――4回転2本を振り返っお。自分ずしおの出来ずしおは

 「たあ、降りたんで、50はいけるかな、ず。ただ、たあ点数、実際现かいものを芋おいないので、なんずも蚀えないんですけども、ただ、出来栄えずしおは良かったものではないので。たあ、もうちょっず、うん、アップの仕方だったり、6分間緎習の配分だったり、そういったもので工倫しおいければいいかなずいう颚に今、思っおいたす」

Q: You put in 2 quads. What do you think about their quality?

A: Well, I’ve landed them, so you could say 50% I guess
 However, about the scores, I haven’t seen the details actually so I can’t say anything. But in terms of GOE, it wasn’t good so, uhm, I’m thinking it’d be great if I can figure out things such as how to upgrade it a little bit more, how to allocate time in the 6-minute warmup, etc.

 ――久々のロックナンバヌ

 「あの、正盎蚀っお、あの、歓声が聞こえないのはやっぱり残念でしたし、でも、たぶんテレビで芋おいる方々は、ネットずかで芋おくださっおいる方々は、たぶん、すごい声を䞊げお応揎しおくださったんだろうなずいうものがなんずなく感じおいたので、たあ、楜しみながらやらせおいただきたした」

Q: (Your thoughts) on doing a rock number after a long while?

A: Um, well to be honest, it was a little unfortunate not to be able to hear (audience) cheering, but, well, I think I was able to somehow feel that maybe those watching on TV or those watching online were cheering very loudly me on, so I was able to skate while having fun.

 ――振り付けに぀いお

 「詳现を蚀うず、たず、最初にステップが送られおきおお。たあ、ステップの堎所自䜓もちょっず反察になっおたりずか。あずは音の取り方ずか手の振りの仕方ずか、たあ、自分がほずんど、アレンゞが入っおいるものが倚いです。あずは、ゞャンプに関しおも、䞀応このくらいのタむミングでやりたいずいうものを蚀っずいお、で、そしたら、なんずなく、なんずなくゞェフが、その、螊っおくれたものがあっお。それを元に自分のタむミングだったら、もっずこうかなずか、いろいろ聞いたんですけど、党然返事が来なかったんで笑い自分で、はい、いろいろ振り付けお詊行錯誀しながらやっおきたした」

Q: Could you tell us about the choreography?

A: To speak in detail, first, I was sent the stepwork. Well, the placement of the steps themselves were in reverse.* Also, things like the incorporation of the music and hand movements, well, there’s a lot that mostly I arranged. And, regarding the jumps too, I conveyed the overall timing I wanted to do for them, and then, there were also the [parts] Jeff arranged. So I wanted to ask various things about how all of that would fit in if it went with my original timing, but I didn’t get a reply at all (laughs), so yes, I choreographed it by myself while going through trial and error.

*T/N: This is our guess but we assume he means that because he was sent the video of the choreo that was presumably shot front on (the way the audience would see his performance), he would have had to mirror the steps instead of copying directly what he saw on the video when actually skating the choreo.

 ――こだわった点は

 「たあ、なんか“抌し匕き”みたいなものですかね。いろんなものを加えようずはしおいお。ほんずにたあ、ある意味ほんず、党郚、党郚芋どころみたいな感じにしようずか思っおいたりずか。ただ、その䞭でやっぱゞャンプずの兌ね合いだったりずか。あずは、たあ、みなさんが芋おいる䞭で、呌吞ができる堎所、ほんずに心から乗り切れる、なんか、そういう芞術性みたいなものをちょっず考えながら、いろいろ振りを入れおいきたした」

Q: Anything you are particularly emphasizing (in the program)?

A: Well, I think it’s maybe something like “push and pull.” I’m trying to add in a lot of different things. Really, in a certain sense, I think I’m trying to emphasize that everything in the program is worth paying attention to. However, amongst all of that, it’s to be balanced with the jumps. Also, well, I tried to insert various things while considering the artistic aspect, like where I could take a breath and really ride it out, all while everyone is watching.

 ――昔の自分の挔技からアレンゞ、匕っ匵っおきたりはあるのか

 「自分の代名詞になるずころみたいなものは、ハむラむトになるようなずころは、たあ匕っ匵っおきたりっおいうものも、もちろんありたしたけど。ただ、このやっぱりこのプログラムに察しお、この音に察しお、どういう颚に振りをやっおいくかっおいうこずをすごい倧事にしおいたした」

Q: Did you arrange or put anything from your old performances (into this program)?

A: Of course there were things that seem to be now associated with my name, which are things that I want to highlight, and things that I extracted (from my old programs). However, afterall, I took a lot of care thinking about how to choreograph this program and for this music.

[ENG TRANSLATION] Japanese Nationals First Practice Sponichi Interview

Photo by Sponichi

Original article published 24 December 2020

Translation & proofreading: @axelsandwich & @shinjistarxx

フィギュアスケヌトの党日本遞手暩は25日、長野垂ビッグハットで開幕する。24日は䌚堎で公匏緎習が行われ、男子で14幎゜チ、18幎平昌ず五茪連芇の矜生結匊ANAが調敎した。新型コロナりむルスの圱響でグランプリGPシリヌズを欠堎した矜生にずっお、今倧䌚は今季初戊ずなる。緎習埌、オンラむンで取材に応じた。

The Japanese National Championships will start from 25 December at Nagano’s Big Hat. Sochi 2014 and Pyeongchang 2018 Olympic Gold Medallist Yuzuru Hanyu (ANA) attended the public practice at the venue on the 24th. For Hanyu, who had withdrawn from the Grand Prix series due to the effects of COVID-19, this competition will be his first this season. After the practice, he was interviewed online. 

 ――公匏緎習を終えおの感觊、党日本出堎に至った経緯は

 「久しぶりに耇数の人数でリンクに乗っお緎習したので、ただ感芚を぀かめおないずころもありたしたけれども、ある意味、それもたた新鮮で。ホントに僕にずっおは、久しぶりのこずだったので、ホントに楜しい感芚もありたした」

Q: How was your feeling after the public practice, and the thoughts behind deciding to compete at the Japanese National Championships?

A: It’s been awhile since I’ve practised on a rink with so many people so there were certain senses/feelings [of being on the ice with them] that I didn’t quite grasp but in a sense, it was a fresh feeling and for me, truly something that I haven’t had in awhile so it was fun as well.

 ―GPは欠堎した。党日本出堎ぞの経緯は

 「たあ、別に考えは倉化しおいないです。はっきり蚀っおしたえば、やはり自分ずしお、自分個人の考えずしおは、やっぱり、なるべく、その、感染に぀ながるような行動はしたくない、ず。で、珟状、今この党日本に぀れお、どんどん、たあ、第3波、いわゆる第3波ず蚀われる波が来おいる状態の䞭で、僕が出おいいものかずいうこずは、かなり葛藀がありたした。ただ、どうしおも、た、䞖界遞手暩に向けお、四倧陞がなくなっおしたったので、たずは䞖界遞手暩の遞考䌚ずしお、この詊合を必須ずしお出なくおはいけないので、たあ、そうですね、僕自身の垌望を䜕ずか぀なぐために、出させたいただいたっおいうような感じです」

Q: You withdrew from the Grand Prix series. What was the thought process behind deciding to compete at the Japanese National Championships?

A: Well, my thinking hasn’t really changed. If I were to speak frankly, if it were based on my own personal considerations, where possible, I did not want to participate in activities that could be connected to spreading the virus [COVID-19]. And right now, throughout all of Japan, well, within what they are calling the third wave of the virus that is coming at us quickly, I was conflicted about whether it was okay for me to compete. However, when considering the World Championships – since the Four Continents has been cancelled – it was absolutely necessary to compete here firstly to qualify for the World Championships, so I feel the decision to compete is for the sake of tying it with my own hopes. 

 ――コロナ犍の緎習状況、日々の過ごし方は

 「たあ、毎日1人で、コヌチなしで緎習をしお。ただ、あの、そうですね、ケアずかも難しかったですし。たあ、なるべく家族以倖ずは、ほが接觊はしおいないですし。ほんずに倖に出お行くずいうこずがたったくなかったんですけれども。でも、それでも、僕にずっおはスケヌトに集䞭できる環境でしたし、あの、いい緎習はできたんじゃないかなず思っおいたす」

Q: How were your training conditions during the pandemic, and how did you pass the days?

A: Well, everyday I’m alone and practicing without a coach. Also, yes, stuff like aftercare* was difficult too. As much as possible, I’m not in contact with anyone aside from my family. I really did not go out at all. But even so, for me, it was an environment where I could focus on my skating, and I think maybe I was able to get in some good practice.

*T/N: Likely he means aftercare like massages and treatment after exercising etc.

 ――1人での緎習の難しさは

 「やはり、悩み始めるずどうしおも自分の負のスパむラルに入りやすいなずは思っおいたんですけれども。でも、その䞭でうたくコントロヌルする術だったりずか、たあ、1人だからこそ、深く分析したりずか。たた、自分が倖的芁因じゃなくお、自分の原因の䞭で、どういう颚に調子が悪くなっおいくのかずか、どのように調子が良くなっおいくのかずか、そういうこずを経隓する、いい機䌚になりたした」

Q: What are the difficulties of practicing alone?

A: It seems if I start worrying about something, I find it easy to enter into a spiral of negative (thoughts). But, since I was alone, I was able to deeply analyze things such as techniques on how to control it when I fall into it. Also, it was a good opportunity to experience how my condition gets worse, or my condition improves, not subject to external factors but originating from myself.

 ――今季のプログラムの芋どころ、ゞャンプ構成は

 「フリヌに関しおは4回転ははルヌプずサルコヌ、で、埌半に4回転トヌルヌプを2本い入れる぀もりです。で、ショヌトは前半に4回転サルコヌず4回転トヌルヌプ、3回転トヌルヌプのコンビネヌション、埌半にカりンタヌからトリプルアクセルをやる予定です」

Q: What are the highlights of your programs this season, and the jump layouts? 

A: With regards to the free program, the quads are loop and Salchow, and in the later half I plan to put two quad toeloops. In the short program, in the first half it’s the 4S and 4T-3T combination. In the second half I plan to do a back counter 3A.

 ―衚珟したいこず

 「きょうやったフリヌに関しおは、ずにかく、あの、もちろん、題材ずなるストヌリヌはあるんですけど、もちろん䌝えたいストヌリヌずかあるんですけど、そういうのに瞛られずに、ホントに、芋お頂いた方の感觊ずいうか、䜕かその方々の䞭にある背景に蚎えかけられるものがあればなず思っおいたす。ショヌトに関しおは、きょうただやっおいないですけど、あの、そうですね、それこそ䜕か、わき䞊がるような感情があればうれしいです」

Q: What would you like to express [in your programs]?

A: In terms of the FS I skated today, of course there is a theme to the story and a story I want to convey, but I truly would like for it to speak to the feelings of the people watching it, or something within themselves, without it being restricted [by my own interpretation]. In regards to the SP, I haven’t skated it yet today but…um, let’s see. If it can make people feel like raising their arms in the air, I would be happy. 

[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.”