[ENG SUB] Yuzuru Hanyu – S-PARK Japanese Nationals Free Skate Commentary – 201227

Translation: @yuzueco, @axelsandwich, @shinjistarxx & @tsukihoshi14
Raw Video: BBI by @aoyuzu205
Sub: @yuzuru_fairy

[!!!] Please do not edit or re-upload. If you would like to share our contents, credit or link to the official account, thank you

[ENG SUB] Yuzuru Hanyu – World Team Selection Press Conference – 201227

Translation: @yuzueco, @axelsandwich, @shinjistarxx & @tsukihoshi14
Proofreading: @yuzueco & @axelsandwich
Raw Video: BBI by @aoyuzu205
Sub: @yuzuru_fairy

[!!!] Please do not edit or re-upload. If you would like to share our contents, credit or link to the official account, thank you

Transcript
src: Sponichi article published 27 December 2020

 ――代衚入りした感想を

 「䞖界遞手暩代衚に遞ばれたした、矜生結匊です。今回、䞖界遞手暩の代衚ずいうのは、やっぱり党日本の王者ずしお行く䞖界遞手暩になるず思いたすので、しっかりず日本代衚ずしお、たずは、たあいろんな䞖の䞭の情勢ありたすけれども、たず日本代衚の日本人の1人ずしお、胞を匵っおその詊合で行動できるようにしおいきたいな。その䞊でいい挔技もしっかりずやっお、もちろん北京オリンピックに向けおの枠も懞かっおくるず思いたすし、党力で自分の圹割をたっずうしたいなず思っおいたす」

 ――代衚入りした感想を

Q: Your feelings on being chosen as a representative [to the World Championships]

「䞖界遞手暩代衚に遞ばれたした、矜生結匊です。今回、䞖界遞手暩の代衚ずいうのは、やっぱり党日本の王者ずしお行く䞖界遞手暩になるず思いたすので、しっかりず日本代衚ずしお、たずは、たあいろんな䞖の䞭の情勢ありたすけれども、たず日本代衚の日本人の1人ずしお、胞を匵っおその詊合で行動できるようにしおいきたいな。その䞊でいい挔技もしっかりずやっお、もちろん北京オリンピックに向けおの枠も懞かっおくるず思いたすし、党力で自分の圹割をたっずうしたいなず思っおいたす」

A: (Introducing himself) I am Yuzuru Hanyu, who has been selected as a representative to the World Championships. This time, I am going to the World Championships as a representative who is also the Japanese National Champion, so ―while of course there is the current situation in the world―firstly as a Japanese person, I will take pride in that and work to be able to go to that competition. On top of that, I would like to properly deliver a good performance and of course heading towards the Beijing Olympics, to secure spots [for Japan’s Olympic team], so, I want to put in my best effort to fulfill my role. 

――䞖界遞手暩は初めお海倖勢ず闘う。自分のラむバルになりそうな遞手、目指す順䜍は

Q: You will compete against foreign skaters at the World Championships for the first time in this season. Who are your potential rivals and what rank are you aiming for?

「はい、たあ、䞀緒に闘っおみないず実際分からないずいうのが正盎なずころです。もちろん基準も、ある䞀定のフィギュアスケヌトのルヌルっおいうのはある皋床、基準はありたすけれども、実際に闘っおみないずその堎の空気感ずか、その堎のリンク、たたは点数の出方、もちろん基準がたた違ったりもしおいるんで たあ、その堎にいないず分からないずころは、実際に単玔に比范はできないずは思っおいたす。え、たあ、そういう意味でたぶん党日本っおいうのは公認蚘録になっおいないわけですし

A: Yes, well, to be honest, we won’t really know until we compete together. Of course, there is a certain standard of figure skating rules, but the standard can change depending on the atmosphere, the ice rink, or the way the scores are calculated. If you don’t know what it is like to be there, you can’t simply compare. In that sense as well, the Japanese National Championship scores are probably not going into official (ISU) records. 

で、今回グランプリシリヌズ、スケヌトアメリカずか、たあカナダずかいろいろなくなっおしたいたしたけれども、でも、それでもう、今回はグランプリシリヌズの点数をISUは公認しないず蚀っおいるんで。それは単玔に比范するものではないず思いたすし、僕自身が出したこの318でしたっけ、5でしたっけ、8くらいか、もやっぱ公認であるわけではないので。そこを単玔に比范しお、自分自身が今、勝っおいるずか、自分自身がこの順䜍にちたいずか、そういう気持ちは今ずりあえずはないです。ただ、もちろん、ネヌサン遞手の動向はもちろん気になっおいたすしただ、僕自身がやるこず、僕自身がレベルアップしおいきたいこずはそれだけじゃなくお、やっぱり4回転アクセルだったりずか、そもそも、このプログラム自䜓をどういう颚に進化させおいくのか、深めおいくのかずいうこずが倧切なんでたずはそこが䞀番倧事かなず思っおいたす」

In this season, the Grand Prix series, Skate America, Skate Canada and many other competitions have been cancelled and the ISU has said that the scores of these Grand Prix series won’t count as official scores this time. So, I don’t think we can simply compare scores. The score 318 ―or was it 315, or was it 318?― that I gained myself is not officially recognized either. I don’t feel that I’m winning or that I want to be in a certain position, simply by comparing scores, at least at the moment. Of course, I’m interested in Nathan’s progress. But what I’m going to do, what I want to improve, is not only that, but the quad Axel and also how to evolve and deepen this program itself, so, I think that’s the most important thing.

――初出堎の鍵山ぞのアドバむスは

Q: What is your advice to Kagiyama, who is competing for the first time in the World Championships?

はい。さっきあの、気になる遞手いたすかずか、どういう颚な順䜍目指したいですかっお質問されおいた時に、すごいなんか鍵山が自分の気持ちに嘘぀こうずしおいたんで。鍵山の方を振り返りそういうこずはいらないよっお。僕はやっぱり、圌の匷さはその負けん気の匷さだったり、向䞊心だったり、勢いだず思っおいるんで。もちろん、それだけでは勝おないかもしれないけど、だけど、そこが今の䞀番の歊噚なんで。そこは倧事に倧事に

A: Yes, earlier, when he was asked things like if there were any skaters he had his eye on or what kind of rank he wants to achieve, I could tell that he was really trying to lie about his feelings. (Turning to look back at Kagiyama) I think there is no need for that. I think that his strength is in his competitive spirit, his ambition, and his vigor. Of course, he might not be able to win with just that alone, but it is his most important weapon right now. I want him to treasure that. 

僕が䞖界遞手暩初めお出お、銅メダル取れた時はもちろん、自分にずっおものすごく倧きな分岐点でもあった幎ず、もう、そのシヌズン自䜓がすごく倧きな分岐点になったこずがあったんですけどやっぱりあの時の挔技は䞀生、忘れおいないですし、あの時の゚ネルギッシュさずか、あの時にしかできない勢いだったりずか、そういうものであそこの順䜍に行けたず思っおいるんですよ。だから鍵山は党日本でも優勝したいっお蚀っおいるくらいなんで、その気持ちは嘘぀かないで欲しいし、しっかりその気持ちを胞に頑匵っお欲しいなっお僕は思っおいたす」

The first time that I competed in the World Championships that I was able to get a bronze medal was, of course, a very big turning point for me. Although, that year, and that season itself was a very big turning point for me.  I have never forgotten my performance at that time, and I think it was the energy and the vigor that I could only have had at that time, that helped me to reach that position. (Kagiyama) has even said that he wants to win the Japanese National Championships, so I hope he won’t lie to himself about those feelings, and I want him to do his best with those feelings in mind.

――ただただスポヌツの倧䌚は先行きの芋通しが立っおいないが、スポヌツが持぀力をどう考えるか、その䞊で䞖界遞手暩ではどのような挔技をしたいか

Q: The future of sports competitions remains uncertain, but what do you think about the power of sports, and then on top of that, how do you want to perform at the World Championships?

「もちろん今回たあ、党競技が終わった䞊でやはり、党遞手できる限りの感染察策をし、あの、もちろん、フィギュアスケヌタヌの䞭では新型コロナにかかっおしたっお、あの、たあ今ロシアの、えヌっずナショナル、党ロシア遞手暩ずかもやっおいたりしたすけれども、その䞭でやっぱり苊しんでしたっお出られなかった方ずか、逆にそれから埩掻しお頑匵っおいる子ずか、もちろんいろいろいるず思うんですね。ただ、僕らアスリヌトずしおは、やっぱり埌遺症っおいうのがある限りは、感染しおはいけないず思いたすし、それを広げる若い䞖代にもなっおはいけないず思うんです。それは僕たちの責任だずすごく思っおいたす。なので、僕たちアスリヌトがたずは感染しない、それがなによりも䞀番だず。

A: Of course, well, this time, although all competitions* are over, all skaters were doing as much as possible to prevent the spread of infection, but of course among skaters there were those who contracted COVID19, um, and went to Russia’s Nationals, or Russian National Championships but I think there are still many who suffered and were unable to go, and in turn others who contracted COVID19 and recovered and are doing their best to compete. However, as athletes, as long as there are after-effects [of the virus], we must not contract it, and we as the younger generation should not be the ones to spread it either. I really believe that it is our responsibility. So, I think the first and foremost thing is for us athletes not to get infected. 

*T/N: Unclear if he is referring to just JPN Nationals events alone or other countries’ nationals and GP series/overall competitions as well.

で、今回僕は党日本を、たあ僕がその立堎かは分からないですけど、総括しお考えおみた時に、遞手たち䞀人䞀人がもちろんキスアンドクラむですぐにマスクを぀けお頑匵っお感染防止をしおいる遞手たちもいたしたし、そういう姿を芋お、これからも頑匵っお自分自身も気を付けおいこうずか、今回䌚堎に来お䞋さった方々も含めお、ずっず感染防止に努めおくださっおいる方が非垞に倚く芋られたっおいうのが䜕よりも良かったず思いたす。あの、もちろん、むベント開催ずいうこずに関しおは、競技䌚も含めおですけど、やっぱりフィギュアスケヌトっお゚ンタヌテむメントな郚分がかなり倧きいず思っおいるので。そういうこずに関しおは感染拡倧のリスクは、やっぱりあるずは思うんです、ただ、これを芋た時に、これをきっかけに、これからさらに感染が拡倧しないように気を付けようっおいう颚に思っおくださる方がたくさんいらっしゃったのが、僕は本圓にあの、党日本遞手暩、党日本フィギュアスケヌト遞手暩っおいうものが開催されおよかったなず思うのず同時に、これから䞖界遞手暩がどうなるか分かりたせんけれども、僕らこのメンバヌでしっかりずその姿を、䞖界にも、日本にも芋せおいかなきゃいけないんだなっおいう颚に思っおいたす」

I don’t know if I am in a position to say this, but when I think about the Japanese National Championships overall, I saw that each and every skater was wearing a mask immediately at the Kiss & Cry to prevent infection, and seeing that made me want to do my best to take care of myself in the future. I think the best thing about the event was that we could see things like that and also noticeably see that many people, including those who came to the venue, were making efforts to prevent infection. 

Well, of course, speaking of holding events, figure skating events, including competitions, are in a large part classified as entertainment. So, I think there is a risk of spreading the infection. However, there were many people who thought that we should take care of ourselves even more to prevent the spread of the disease, after watching this competition. I’m really glad that the Japanese National Figure Skating Championships was held for that reason, and at the same time, I don’t know what the World Championships will be like, but I think all the skaters here have to show the world and Japan what we can do.

[ENG SUB] Yuzuru Hanyu – Japanese Nationals 2020 Top 3 Mens Singles Press Conference – 201226

Translation: @yuzueco, @shinjistarxx, @Pumpkinface59, @tsukihoshi14
Proofreading: @yuzueco & @axelsandwich
Raw Video: BBI by @aoyuzu205
Transcript: @aoyuzu205
Sub: @yuzuru_fairy

[!!!] Please do not edit or re-upload. If you would like to share our contents, credit or link to the official account, thank you

[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 SUB] Hanyu and Yuzuru – 200204

Part One

Part Two

Part Three

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

This is a 3 part video series. The interview was conducted right after Japanese Nationals in December 2019 but the program was aired in February 2020.

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

[!!!] Please do not edit or re-upload. If you would like to share our contents, credit or link to the official account, thank you

[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.