[ENG SUB] Hanyu and Yuzuru – 200204

Part One

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

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

*A note on names: The title of the show is ็พฝ็”Ÿใจใ‚†ใฅใ‚‹ (‘Hanyu and Yuzuru’) and you will see the narrator say that we are getting to know ใฏใซใ‚…ใ†ใ‚†ใฅใ‚‹ for the first time. This nuance is hard to convey because it doesnโ€™t exist in English but the name is written not in formal kanji (็พฝ็”Ÿ็ตๅผฆ) which is how Yuzuru is known but in hiragana, the โ€˜easiestโ€™ 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, โ€˜private-facingโ€™ and vulnerable side to him. For the sake of translation, the hiragana version will be written โ€˜Hanyu Yuzuruโ€™ (the Japanese name order) to distinguish the two.

[ENG TRANSLATION] 4CC 2020 Sponichi Interview

Photo by Yoshiki Kogaito (Sponichi)

Original article published 5 Feb 2020

Translation: @axelsandwich
Proofreading: @yuzueco

ใ€€โ€•โ€•็ทด็ฟ’ใ‚’็ต‚ใˆใฆ็Šถๆ…‹ใฏ

ใ€€ใ€Œใพใ‚ใ€ๆ„Ÿ่ฆšใฏ่‰ฏใ‹ใฃใŸใงใ™ใ€‚ใ‚ใฎ๏ฝžใ€ใพใ ใคใ‹ใฟใใ‚Œใฆใ„ใชใ„ใจใ“ใ‚ใ‚‚ใ‚ใ‚‹ใ‚“ใงใ™ใ‘ใ‚Œใฉใ‚‚ใ€ใพใ‚ๅพใ€…ใซใคใ‹ใฟใใ‚ŒใŸใ‚‰ใชใจใ„ใ†้ขจใซๆ€ใ„ใพใ™ใ€

Q: Whatโ€™s your condition after practice?

A: Well, the feeling was good. Hm~ there are still parts that I havenโ€™t grasped but well, Iโ€™m hoping to grasp those little by little. 

ใ€€โ€•โ€•ใ‚ธใƒฃใƒณใƒ—ใ‚’ใŒใ‚“ใŒใ‚“ใ„ใ‹ใชใ‹ใฃใŸใฎใ‹

ใ€€ใ€Œใพใ‚ใ€ๅˆๆ—ฅใฎ็ทด็ฟ’ใ ใฃใŸใฎใงใ€ใพใ€ใ—ใฃใ‹ใ‚Šๆ„Ÿ่ฆšใ‚’็ขบใ‹ใ‚ใชใŒใ‚‰ใจใ„ใ†ๆ„Ÿใ˜ใงใ—ใŸใ€‚ใพใ‚ใ€ใพใ ใ‚นใ‚ฑใƒผใƒˆ่‡ชไฝ“ใ‚‚ใ—ใฃใใ‚Šใใฆใ„ใ‚‹ๆ„Ÿใ˜ใฏใพใ ใชใ„ใฎใงใ€ใใ‚Œใ‚’1ใค1ใค็ขบใ‹ใ‚ใชใŒใ‚‰ใ€‚ใ“ใฎๆฐทใซใฏใ“ใ†ใ„ใ†้ขจใชใ‚ฟใƒƒใƒใง่กŒใ‘ใฐใ„ใ„ใฎใ‹ใชใจใฃใฆใ“ใจใ‚’ใ‚ใ‚‰ใŸใ‚ใฆ่€ƒใˆใชใŒใ‚‰ใ€ใใ‚‡ใ†ใฎ็ทด็ฟ’ใฏๆป‘ใ‚‰ใ›ใฆใ„ใŸใ ใใพใ—ใŸใ€

Q: You didnโ€™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 donโ€™t think the skating itself has exactly come but I am confirming these one at a time. I skated todayโ€™s practice while thinking anew about the best way to get a feel for the ice.

ใ€€โ€•โ€•ใ€Œใƒใƒฉใƒผใƒ‰็ฌฌ1็•ชใ€ใฏๆป‘ใฃใฆใ„ใฆๆฐ—ๆŒใกใŒใ„ใ„ใ‹

ใ€€ใ€Œใพใ‚ใ€ใใ‚Œใฏ่ฆ‹ใฆใ„ใ‚‹ๆ–นใฎๆ„Ÿๆ€งใซไปปใ›ใ‚‹ใจใ—ใ‹่จ€ใ„ใ‚ˆใ†ใŒใชใ„ใ‚“ใงใ™ใ‘ใ‚Œใฉใ‚‚ใ€ใพใ‚ใ€ใ‚„ใฃใฑใ‚Šใ€ใใ‚‡ใ†ใ™ใ”ใ็ทŠๅผตใ—ใพใ—ใŸใ‘ใ‚Œใฉใ‚‚ใ€ใงใ‚‚ใ€ใชใ‚“ใ‹ใ‚ใ‚‰ใŸใ‚ใฆใ€ใพใ‚ใ€ๅนณๆ˜Œไปฅๆฅใ€ๅˆใ‚ใฆใƒใƒฉใƒผใƒ‰็ฌฌ1็•ชใ‚’้€šใ™ใ“ใจใฏๅˆใ‚ใฆ็š†ใ•ใ‚“ใฎๅ‰ใงใ‚„ใฃใŸใฎใงใ€ใ™ใ”ใ„็ทŠๅผตใ—ใŸใจใจใ‚‚ใซใ€ใ‚ใ‚‰ใŸใ‚ใฆใ“ใฎใƒ—ใƒญใ‚ฐใƒฉใƒ ใ‚’ๆป‘ใ‚‹ใจใ„ใ†่ฆšๆ‚Ÿใ‚’ใ•ใ›ใ‚‰ใ‚ŒใŸใจใ„ใ†ๆ„Ÿใ˜ใฏใ—ใพใ—ใŸใ€

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. 

ใ€€โ€•โ€•ใƒ—ใƒญใ‚ฐใƒฉใƒ ้ธๆŠžใฎ็†็”ฑใฏ

ใ€€ใ€Œใˆใฃใจใ€ใŸใถใ‚“ใ“ใฎ่ฉฑใ ใ‘ใงใ€ใŸใถใ‚“ใ“ใฎใ‚คใƒณใ‚ฟใƒ“ใƒฅใƒผ็ต‚ใ‚ใ‚‹ใจๆ€ใ†ใ‚“ใงใ™ใ‘ใฉใ€‚ใพใšใ€ใ‚ฐใƒฉใƒณใƒ—ใƒชใƒ•ใ‚กใ‚คใƒŠใƒซใ€ๅ…จๆ—ฅๆœฌใจใ‚ใฃใฆใ€ใ‚„ใฃใฑใ‚Š้›ฃๆ˜“ๅบฆใ‚’้›ฃใ—ใใ™ใ‚‹ใ“ใจใฏใ™ใ”ใ่‡ชๅˆ†่‡ช่บซใซใจใฃใฆใ‚‚ๆฅฝใ—ใ„ใงใ™ใ—ใ€ใใ‚Œใ‚’้”ๆˆใงใใŸๆ™‚ใฎๅ–œใณใฏ่จˆใ‚Š็Ÿฅใ‚Œใชใ„ใ‚‚ใฎใงใฏใ‚ใ‚‹ใ‚“ใงใ™ใ‘ใ‚Œใฉใ‚‚ใ€ใชใ‚“ใ‹ใ€่‡ชๅˆ†ใŒ็›ฎๆŒ‡ใ—ใฆใ„ใ‚‹ใ‚นใ‚ฑใƒผใƒˆใฃใฆใ„ใ†ใฎใฏใ€ใŸใ ้›ฃใ—ใ„ใ“ใจใ‚’ใ™ใ‚‹ใ‚นใ‚ฑใƒผใƒˆใ˜ใ‚ƒใชใ„ใชใฃใฆๆ€ใฃใŸใ‚“ใงใ™ใ‚ˆใญใ€‚

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 itโ€™s very fun to raise the difficulty [of my layouts], and the happiness at the moment of accomplishing them is immeasurable, but, wellโ€ฆ I think the skating Iโ€™m aspiring to is not just doing difficult things.

ใใฎใ€ใ‚ชใƒชใ‚ธใƒณใ‚’ใ‚„ใฃใŸใ‚Šใ‚ชใƒˆใƒŠใƒซใ‚’ใ‚„ใฃใฆใ„ใฆใ‚‚ใใ†ใชใ‚“ใงใ™ใ‘ใ‚Œใฉใ‚‚ใ€่‡ชๅˆ†ใฎๅ‘ผๅธใ˜ใ‚ƒใชใ„ใชใ€ใจใ€‚ใ‚ใฎใ€ใพใšๆŠ€่ก“็š„ใชใ“ใจใซ้–ขใ—ใฆ่จ€ใˆใฐใ€ใ‚„ใฃใฑใ‚Š้ซ˜้›ฃๆ˜“ๅบฆใฎใ‚‚ใฎใ‚’ๅ…ฅใ‚Œใ‚Œใฐๅ…ฅใ‚Œใ‚‹ใปใฉใ€ใ‚„ใฃใฑใ‚Šใพใ ๅƒ•ใซใฏใ‚นใ‚ฑใƒผใƒˆใฎ้ƒจๅˆ†ใŒใŠใ‚ใใ‹ใซใชใฃใฆใ—ใพใฃใŸใ‚Šใจใ‹ใ€ๆ›ฒใ‹ใ‚‰1ๅ›ž้ ญใ‚’ๅค‰ใˆใฆใ€ๆ›ฒใ‚’1ๅ›žๅค–ใ—ใฆใ€ใใฎใ‚ธใƒฃใƒณใƒ—ใซใ‚ปใƒƒใƒˆใ—ใซใ„ใ‹ใชใ„ใจใ„ใ‘ใชใ„ใจใ„ใ†ใฎใŒใ‚„ใฃใฑใ‚ŠๅซŒใ ใฃใŸใ€‚ใใ‚ŒใŒใ‚„ใฃใฑใ‚Š่€ใˆใใ‚Œใชใ‹ใฃใŸใฃใฆใ„ใ†ใฎใŒๅคงใใ„ใงใ™ใ€‚ใงใ€ใพใŸ้Ÿณๆฅฝใซ้–ขใ—ใฆ่จ€ใˆใฐใ€ใ“ใฎๆ›ฒใ‚’ใ‚ชใƒชใ‚ธใƒณใจใ‚ชใƒˆใƒŠใƒซใฃใฆใ„ใ†้ธๆŠžใ‚’ใ—ใŸๆ™‚ใฏใ‚ชใƒชใƒณใƒ”ใƒƒใ‚ฏใŒ็ต‚ใ‚ใฃใŸๅพŒใ ใฃใŸใฎใงใ€่‡ชๅˆ†่‡ช่บซใ€ใ™ใ”ใใตใ‚ใตใ‚ใ—ใŸๆฐ—ๆŒใกใงใ„ใพใ—ใŸใ—ใ€ไฝ•ใ‹ใ‚ธใƒงใƒ‹ใƒผใ‚ฆใ‚ฃใ‚ขใƒผใ•ใ‚“ใจใƒ—ใƒซใ‚ทใ‚งใƒณใ‚ณใ•ใ‚“ใฎ่ƒŒไธญใ‚’ใšใฃใจ่ฟฝใ„ใ‹ใ‘ใ‚‹ๅฐ‘ๅนดใฎใพใพใ„ใŸใ‚ˆใ†ใชๆ„Ÿใ˜ใŒใ—ใŸใ‚“ใงใ™ใ‚ˆใ€ใ™ใ”ใใ€‚

I did Origin, did Otonal, but perhaps itโ€™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.

ใ ใ‹ใ‚‰ใ€็ขบใ‹ใซๅ…จๆ—ฅๆœฌใฎใ‚ชใƒˆใƒŠใƒซใฏ่‰ฏใ‹ใฃใŸใจๆ€ใ„ใพใ™ใ—ใ€ใ‚นใ‚ฑใƒผใƒˆใ‚ซใƒŠใƒ€ใฎใ‚ชใƒชใ‚ธใƒณใ‚‚่‰ฏใ‹ใฃใŸใจๆ€ใ†ใ‚“ใงใ™ใ‘ใฉใ€ใงใ‚‚ใ€ใ‚„ใฃใฑใ‚Šใ€่‡ชๅˆ†ใฎๆผ”ๆŠ€ใจใ—ใฆๅฎŒๆˆใงใใชใ„ใชใฃใฆใ„ใ†้ขจใซๆ€ใฃใฆใ—ใพใ„ใพใ—ใŸใ€‚ใ‚ใพใ‚Šใซใ‚‚็†ๆƒณใŒ้ซ˜ใ„ใŒใ‚†ใˆใซใ€‚ใงใ€ใใฎ็†ๆƒณใŒใŸใถใ‚“ๅƒ•ใ˜ใ‚ƒใชใใฆใ€ใƒ—ใƒซใ‚ทใ‚งใƒณใ‚ณใ•ใ‚“ใ ใฃใŸใ‚Šใ€ใ‚ธใƒงใƒ‹ใƒผใ•ใ‚“ใฎ่ƒŒไธญใŒใŸใถใ‚“็†ๆƒณใ ใฃใŸใจๆ€ใ†ใ‚“ใงใ™ใ€‚ใ ใ‹ใ‚‰ใ€ใใ†่€ƒใˆใŸๆ™‚ใซใ‚„ใฃใฑใ‚Šใ€ๅƒ•ใฎใ‚นใ‚ฑใƒผใƒˆใ˜ใ‚ƒใชใ„ใฎใ‹ใชใจใ„ใ†ใ“ใจใ‚’ใ€ใƒกใƒ€ใƒชใ‚นใƒˆใƒปใ‚ชใƒณใƒปใ‚ขใ‚คใ‚นใฎSEIMEIใ‚’ใ‚„ใฃใŸๆ™‚ใซใ‚ใ‚‰ใŸใ‚ใฆๆ€ใ„ใพใ—ใŸใ€‚ใ ใ‹ใ‚‰ใ“ใใ€ใชใ‚“ใ ใ‚ใ€SEIMEIใ‚’ๆป‘ใฃใŸๆ™‚ใ€ใชใ‚“ใ‹ใ‚ซใƒใƒผๆ›ฒใจใ‚ชใƒชใ‚ธใƒŠใƒซๆ›ฒใ˜ใ‚ƒใชใ„ใงใ™ใ‘ใฉใ€ใใฎใใ‚‰ใ„ใฎ้•ใ„ใ‚’ใชใ‚“ใ‹่‡ชๅˆ†ใฎไธญใงใ™ใ”ใๆ„Ÿใ˜ใฆใ€‚ใƒ›ใƒณใƒˆใซSEIMEIใ‚‚ใƒใƒฉใƒผใƒ‰็ฌฌ1็•ชใ‚‚ใ€ใƒ›ใƒณใƒˆใฏใชใ‚“ใ‹ใ€ใ‚‚ใ†ไผ่ชฌใจใ—ใฆ่ชžใ‚Š็ถ™ใŒใ‚Œใ‚‹ใ‚ˆใ†ใช่จ˜้Œฒใ‚’ๆŒใฃใฆใ—ใพใฃใฆใ„ใ‚‹ๅญใŸใกใชใฎใงใ€ใงใใ‚Œใฐๅฏใ•ใ›ใฆใ‚ใ’ใŸใ‹ใฃใŸใ‚“ใงใ™ใ‘ใฉใ€ใงใ‚‚ใ€ใใ‚Œใงใ‚‚ใ€ใƒกใƒ€ใƒชใ‚นใƒˆใƒปใ‚ชใƒณใƒปใ‚ขใ‚คใ‚นใฎๆ™‚ใซๅŠ›ใ‚’ๅ€Ÿใ‚ŠใŸๆ™‚ใซใ€ใ‚ใฎๆ™‚ใฎ็ฒพ็ฅž็Šถๆ…‹ใ ใฃใŸใ‹ใ‚‰ใ“ใใ‹ใ‚‚ใ—ใ‚Œใชใ„ใงใ™ใ‘ใฉใ€ใ‚‚ใฎใ™ใ”ใ่‡ชๅˆ†ใงใ„ใ‚‰ใ‚Œใ‚‹ใชใฃใฆๆ€ใฃใฆใ€‚ใใ‚Œใงใ€ใ†ใ‚“ใ€ใ‚‚ใ†ๅฐ‘ใ—ใ ใ‘ใ€ใ“ใฎๅญใŸใกใฎๅŠ›ใ‚’ๅ€Ÿใ‚Šใฆใ‚‚ใ„ใ„ใ‹ใชใฃใฆๆ€ใ„ใพใ—ใŸใ€ใฏใ„ใ€

Therefore, I think itโ€™s indeed true that the Otonal at Japanese Nationals was good and Skate Canadaโ€™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 โ€˜idealโ€™ was probably not me, but I think that of Plushenko-san and Johnny-sanโ€™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, itโ€™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 โ€˜backsโ€™ were the ideal, essentially the โ€˜backsโ€™ who he was chasing after or their idealised image in his head, but Iโ€™ve taken the liberty to use a more common English expression. 

**he uses ใ—ใพใฃใฆใ„ใ‚‹ which is a suffix usually used to denote something thatโ€™s not ideal/good – here it’s attached to ่จ˜้Œฒใ‚’ๆŒใฃใฆใ—ใพใฃใฆใ„ใ‚‹ – 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.

ใ€€โ€•โ€•4ๅ›ž่ปขๅŠใฎๅฎŒๆˆๅบฆใ€ไธ–็•Œ้ธๆ‰‹ๆจฉใงใฎๆŒ‘ๆˆฆใฏ

ใ€€ใ€Œใ†๏ฝžใ‚“ใ€ใพใ‚่ทณในใชใ‘ใ‚Œใฐใ‚„ใฃใฑใ‚Šๅ…ฅใ‚Œใ‚‹ใ“ใจใฏใงใใชใ„ใฎใงใ€ใพใ‚ใ€่ทณในใŸใ‚‰ใ‹ใชใจใฏๆ€ใฃใฆใ„ใ‚‹ใ‚“ใงใ™ใ‘ใฉใ€‚ใŸใ ใ€็ทด็ฟ’ใฏ็ตๆง‹ใ€ใ“ใฎ1ใ‚ซๆœˆ้–“ใงใใŸใจใฏๆ€ใฃใฆใ„ใพใ™ใ€‚ใพใ ่ทณในใฆใชใ„ใงใ™ใ‘ใฉใ€ใงใ‚‚ใ€ใชใ‚“ใจใชใๅฝขใฏ่‰ฏใใชใฃใฆใใŸใ‹ใชใจๆ€ใ„ใพใ™ใ€

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

A: U~mโ€ฆ well, if I canโ€™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 havenโ€™t landed it, but somehow or another, I think its condition/shape has gotten better.