It’s always hard, but this translation is hard again as Yuzuru’s words are rather abstract.
Yuzuru, what do you mean exactly by 滑っている感覚 Subette iru kankaku? :scratch:
Although I put “feel or sense while skating”, if anyone has any idea, please just advise me.
WORLD FIGURE SKATING 65:
Yuzuru Hanyu:
I believe we have no measure.
(Part 1/5 - maybe

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Question: You are doing a sort of ice show marathon in this off-season.
Yuzuru: Never ending show rush (laughs). Once it is settled, I will be able to be back to Toronto and finally start my practice.
Q: You have unveiled your SP of the new season, “Chopin Ballade No. 1”, before others. It is a very difficult composition with 3A at the beginning, and 4T as well as 3Lz+3T in the latter half of the program. It seems to be a program to open a new door in the aspect of expression.
Y: Its choreographer is Jeffrey Buttle and we left everything to Jeff, including the selection of music as well as the choreography. The sense or feel while skating is what I place the most importance on. As to the sense while skating, I’m feeling this SP is very difficult. In the first place, since it is a piano piece, I think I must make it structured, being conscious of the posture, toes, etc.
Q: Is it OK now for you to talk about your FP?
Y: Yes. My new FP is “Phantom of the Opera,” with the music arranged according to the story of Phantom.
Q: Did you select the music?
Y: I always loved the music of “Phantom of the Opera.” It became my favorite when I saw the film “Phantom of the Opera” in my music class that I was taking as an elective class of the second grade of junior high. It gave me a strong impression, and I have kept saying to my coach(
es?) that I want to use it. But, as there are so many skaters have used it including men’s skaters such as Patrick and Daisuke, there had not been a chance. I can use it at last. Also, lyrics are allowed to be used from this season, and I thought it might give a fresh image.
Q: Do you have a different feel when skating to music with lyrics?
Y: I don’t think there is much difference. Because what we actually do would not be different at all. The impression of music might be different, or the facial expression of the skater might become easier to grasp. I read an interview of Tatsuki Machida in a magazine, and I am quite agree with him, that is, there is a possibility that lyrics would constrain skaters, for example, in case a sad melody has cheerful lyrics, the skater might need to make a cheerful facial expression. Lyrics could extend the skater’s range of expression, but, there is also a possibility they could narrow the range. I think it all depends on the person who uses the music.
Q: Is there any part or aspect that you go into the program story through lyrics?
Y: I’m not so conscious of lyrics myself. Although there are many parts choreographed with an awareness of lyrics, when it comes to whether I would only perform the role of Phantom, the answer may be “No”. It’s not everything. I may be trying to catch the background sound of the song for sure. Actually, this is what we have to develop further for the last-minute details after this, but I don’t think lyrics would affect that much.
Q: Who is the choreographer?
Y: Shae-Lynn (Bourne). It had proceeded between Brian and Shae-Lynn while I was unaware (laughs). It was not me who intended to request her, but Brian was thinking about Shae-Lynn (as the choreographer) since last year, and invited her to the Cricket Club in January. Brian was so willing to make me perform her program, and it was like having been decided to Shae-Lynn almost before I realized it.
Q: Is that for learning new things?
Y: I think so. It was the first time I worked with her, and it was actually difficult. The first thing I felt difficulty was that we had to start from talks like; “What moves are you good at?” As for SP, Jeff has choreographed for me once, and we kept polishing it up for 2 years. It is true that it was easier for me really to do his new program as well.