Yuzuru Hanyu - Blog Posts

Things that turn a fanyu on TO THE MAAAAX (part one)

*clicks tongue*

~DUN DUN~

*snorts*

Sapporo 2030 here we come?

I will die on this hill

Yuzuru Hanyu logic in a nutshell:

Yuzu, I love you, but sometimes you’re a bit confusing..

it’s the same thing every damn time

Yuzuru Hanyu @ jnats 2021:

the fs 2021-22 season in a nutshell:

Happy birthday to the man who instantly became my role model the first day I saw him, the one who made my motivation to compete come back (I'm a swimmer) and the one who introduced me to the wonderful sport that is Figure Skating. Happy birthday to the man whos programs I've watched on repeat when I've felt sad and to the man who have made my life a lot brighter.

Happy birthday Yuzuru Hanyu, I've never met you and probably never will but I still don't know what I would have done without you. ❤

fangirl thought of the day: that the final season of Attack on Titan is released on the same day as Yuzuru Hanyu's birthday

It's really embarassing how God didn't even TRY to be discreet when he made Yuzuru Hanyu the main character🤦‍♀️

Literally me rn (and probs so many others)

羽生 結弦 Yuzuru Hanyu (JPN)

2012 World Championship Free Skate (173.99, SB)

Notte Stellata 2025 Day 2 - SEIMEI (Yuzuru Hanyu x Mansai Nomura)

[2025.03.13] Radiotalk: "Profession: Mansai Nomura" March 13 – Notte Stellata 2025 is the Best!

This time, I had the honor of participating as a special guest in Yuzuru Hanyu’s Notte Stellata 2025. Today, I’d like to share my thoughts and some behind-the-scenes stories. So, instead of introducing each message one by one, I’ll just talk about my experiences.

Well, the show has ended, and I’ve received a flood of messages about it. I think it's something that the producers at Nippon Television (NTV) had been planning, and it gradually became a reality, of course with Hanyu's involvement. From the very beginning, it seems there was a thought of "one day, this will happen." The first time, it was Kohei Uchimura, the second was Mao Daichi, and this time, it was my turn. The first guest was a gymnast, then an actress, and now me, a classical performing arts actor. In a way, I think the concept of the performance evolved through these stages.

Without a doubt, the conversation we had from ten years ago became the catalyst for various things. While recalling that experience, I thought about what I could do with Hanyu-san this time, what I could remember, and what I could convey. With all these thoughts in mind, I directed this collaboration.

Since it was my first time performing on an ice skating rink, I wasn’t entirely familiar with how things worked. But after watching the previous two shows, I felt that it would be best not to be too far away, and I also wanted to be as close to the audience as possible, so I made an effort to close that gap. That’s one of the key points.  In Bolero, the stage was built at the center, while in SEIMEI, I ran along the rinkside. Well, I didn’t just run, I walked properly as well. The staff referred to the small protruding stages as ‘debeso’, and I believe there were four... No, actually, three of them. Small, island-like stages were set up on both the long and short sides of the rink, where I could perform. I carefully considered my performance space and how to integrate it into the skating show, drawing on the wisdom of everyone involved.

I have always performed Bolero as a solo dance, sometimes accompanied by an orchestra and at other times with the support of 40 members from a Japanese dance company. However, this time, with the strong collaboration of Hanyu Yuzuru-san, as well as Shae-Lynn Bourne-san, Tanaka-san, Mura-san, Miyahara-san, and Suzuki-san, I truly feel that something entirely new was created. Shae-san’s choreography was also highly innovative, and Hanyu-san’s presence played a significant role in bringing everything together.

Speaking of Bolero, I think that Béjart's choreography is influenced by traditional Japanese performing arts, particularly the Bon Odori style. The idea of having a yagura (raised platform) at the center with people dancing in a circular motion around it was something I specifically wanted to incorporate this time. Then, there was the question of how to position Hanyu-san’s presence. I wanted to incorporate the idea of utsushimi (manifestation or embodiment of a spirit or deity in a physical form) while ensuring that it did not overlap too much with the SEIMEI and Shikigami (spirit familiar) concept. To me, it felt like a god and its messenger bird—a phoenix itself. The kariginu I wore also featured a phoenix motif, embodying that immortal bird. In that sense, the phoenix and its 'manifestation' coexisted—that was what Bolero became for me.

The original piece was about 17 minutes long, but we condensed it to roughly half that length. More than anything, this performance carried a strong theme of requiem, so it was necessary to evoke scenes representing the deceased. With that in mind, the other performers—aside from Hanyu-san and myself—incorporated scenes depicting the sudden transition from life to death. I asked whether it was possible to lie down on the ice and for how long they could stay there. We used a black cloth like a blanket, but staying in that position for too long would be uncomfortable, so we significantly shortened the duration this time. I thought it could have been a bit longer, but I believe it turned out well in the end.

From there, we aimed for "rebirth". Since representing the four seasons is a major theme of Bolero, I wondered if we could make confetti fall like snow. In traditional theater, snow is often represented by white paper falling, but since scattering paper on an ice rink wouldn’t be ideal, we looked for an alternative. The staff suggested a solution—something like foam, which could be considered artificial snow, but perhaps it’s better described as foam. Since it would disappear quickly, it wouldn’t affect the rink, making it a perfect choice. 

That snow was really wonderful. When I first saw it, I thought it was beautiful. On opening night, when Bolero began, I’m sure some people in the audience may have anticipated it, while others were completely surprised, but the collective gasp when it started was immense. And when the snow fell, there was yet another huge reaction from the audience. I’ll never forget that moment.

We also incorporated various sound effects, such as birds chirping and the sound of rain, while making extensive use of lighting. Day by day, my collaboration with Hanyu-san deepened, so did my synergy with the other five performers, creating the piece together. I took a rather provocative approach, fostering communication through mutual engagement, and I felt that everyone responded to that energy.

As for my costume, we had various discussions, and this time, I chose a red Okuchi-hangiri hakama. Since the performance space was vast, I also added some red highlights to my hair to complement the look.

Now, SEIMEI is the piece from Hanyu-san’s gold medal performance, so I didn’t want to interfere with it too much. However, I also wanted to recall the film (Onmyoji) and our past discussion. Considering that, I used the keyword Tenchi-jin (Heaven, Earth, and Man) and had him appear as a Shikigami. And so, by having him appear as a shikigami, we decided to use human-shaped paper figures as the motif. When those paper figures were cast into the air, Hanyu-senshu appeared, and in the final moment, a large number of these human-shaped papers rained down in a visually striking effect.

Additionally, the four guardian beasts of Onmyōdō—Seiryu (Azure Dragon), Suzaku (Vermilion Bird), Byakko (White Tiger), and Genbu (Black Tortoise)— which also appeared in the film, were incorporated into the performance. I thoroughly enjoyed the process.

Source: https://radiotalk.jp/talk/1287686 

Does anyone have the video of when the commentator ended Yuzuru's performance saying "You have to pick up your own props." and "We're going to take an intermission before Yuzuru Hanyu loses all of his clothing." because I can't find one where you can actually see his mad dash to collect his jacket 😭

once again thinking about yuzuru’s onmyoji performance

[2025.03.06] Hochi special interview for Notte Stellata - Nomura Mansai

The encounter that "SEIMEI" gave birth to: From "Profession: Nomura Mansai" to "Profession: Yuzuru Hanyu": Interview Part 1

Kyogen performer Mansai Nomura (58), who will be appearing as a special guest in the ice show "Yuzuru Hanyu Notete Stellata 2025" (7th to 9th) featuring professional figure skater Yuzuru Hanyu, gave an interview to Sports Hochi on the 5th. The article was published on two consecutive days, and in the first part he talked about "SEIMEI", which led to the two meeting, and "Profession: Yuzuru Hanyu".

Mansai and Hanyu first met in 2015. In the 2015-16 season, Hanyu performed his free program "SEIMEI," which used a song from the movie "Onmyoji," starring Mansai. Mansai, who is someone Hanyu looks up to, vividly remembers their conversation at the time.

　"Hanyu was a young man of 20 at the time, but I remember that he reacted very strongly to what I was saying. I put into words the things that he had been thinking, wondering about, and feeling on a daily basis but found difficult to put into words. When I said, 'It's like this, isn't it?' I remember him nodding deeply."

　During the conversation, he gave advice such as, "Be aware of all directions - heaven, earth, and man - and surround yourself with sound," and, "Use your body after swinging it in the opposite direction of the direction you want to move."

　"It's about using space and time. Controlling the venue. I remember when he came to see my performance, the first thing he said to me was, 'You have incredible control over the venue.' How do you control the venue? It's the same on the ice, as on our Noh stage, and on our cypress stage. I think it's about how you manipulate the space and time to give the audience a good experience."

　Hanyu performed "SEIMEI" at the 2018 Pyeongchang Olympics, winning his second consecutive gold medal. Immediately afterwards, Mansai sent him an email to congratulate him.

　"He was injured at the PyeongChang Olympics. I remember sending him a message saying, 'You gave it your all and won the fierce battle.'"

This first joint performance was made possible after an offer from Hanyu himself. They met for the first time in nine years in October last year to discuss plans for the show.

　"He became a professional skater. He was very good at putting his ideas into words and communicating to others how he wanted to do things. He's had a varied career. He seemed to me to be not only an athlete, but also an artist."

　Immediately after Hanyu turned professional in July 2022, he gave him the name "Occupation, Hanyu Yuzuru" on his radio talk show "Occupation, Nomura Mansai" (an audio distribution service) and sent him his encouragement.

　“I remember hearing that Hanyu was worried about his title. I remember him saying something like, ‘Profession: Hanyu Yuzuru.’ I think he’s going to walk the path of that from now on. It’s not just being an athlete, it’s something that only he can do, like contributing to the community, and it’s his own artistic view of the universe, and things like that.”

　As Mansai continued to take on new challenges, he came to be known as "Profession: Nomura Mansai."

　"I myself have been doing various directing and trying various genres, and there was a time when I thought there was no one else like me, and I wondered what to do. I took "Profession, Nomura Mansai" from the name of Shuji Terayama, who calls himself "Profession, Terayama Shuji." I wanted Hanyu to achieve a world that only he could achieve, so I asked him, "Profession, Hanyu Yuzuru?" (Continued in the second part)

◆Nomura Mansai Born April 5, 1966. 58 years old. Originally from Tokyo. Studied under his grandfather, the late Nomura Manzo VI, and his father, Nomura Mansaku. Debuted on stage at the age of three. Active as an actor in films such as "Onmyoji" (2001), "Seven Conferences" (2019), and the drama "Promise with Death" (2021). Head of Kyogen Gozaru Noza. Designated as an Important Intangible Cultural Property.

Mansai Nomura and Yuzuru Hanyu "share the same DNA" - Today marks their first joint ice show interview (Part 2)

This is the second part of a two-day interview with Kyogen performer Mansai Nomura (58), who will be appearing as a special guest at the ice show "Yuzuru Hanyu Notete Stellata 2025" (7-9, Sekisui Heim Super Arena, Miyagi) by professional figure skater Yuzuru Hanyu (30). The two, who have both mastered their own paths, talk about the DNA they share as performers.

In order to perfect his profession, 'Mansai Nomura', he makes an uncompromising effort every day. He continues to fascinate audiences with his diverse expressions that go beyond the boundaries of Kyogen.

　"Of course, one's own specialty is the core of one's work, but at the same time, one must have a broader perspective. Human life and death. The venue for Notte Stellata (Grande 21) is also a place of great significance [Note 1]. In that sense, Hanyu himself is contemplating the issue of human life and death, and giving great thought to what he can do in the midst of this."

He also touched on Hanyu's "determination."

　"I think he has gone beyond the framework of a mere individual or an athlete. He has something to carry on his shoulders. This may be a little self-serving, but I would like to use Kyogen as my core, and while carrying the weight of Kyogen, I would also like to carry Japanese culture somewhere. Hanyu is also someone who takes on such a broader perspective, challenging himself to do things that include broad genres, and I believe he is someone who is able to do so."

　"Profession: Nomura Mansai" and "Profession: Yuzuru Hanyu." As fellow artists, how does he view Hanyu?

　"He himself is a fan of my work 'Onmyoji', so he included 'SEIMEI' in his performance. I think it's about how you express something like a view of the universe. I think he would think that the skating rink is also a universe. I spoke at length about it in our interview (in 2015), including the idea of controlling heaven, earth and man. It seemed to really resonate with him. In that sense too, I get the impression that we share the same DNA."

　I asked Mansai about what "expression" means to him. He said that it involves sharing "life" with the audience.

　"From the performer's perspective, I think it's a pursuit of a certain beauty, but ultimately it only exists because of the audience. When the audience sees living people performing, they feel glad to be alive, and the performers are glad to be alive too. After all, it is live performing arts. What's wonderful is what happens on the spot - 'live' and 'alive'. It's like 'I'm glad I went to see it', and on top of sharing that time and space, and the emotions, it makes you feel 'I'm glad to be alive'. I think that's what it means."

　This show will be performed in a different space than usual. Before rehearsing at the skating rink, the group first practiced in a gymnasium to get a feel for the spaciousness.

　"I realized it was very big (laughs). I was a little surprised. It was a distance you could cover while wearing skates, but if I were to walk, it would be a considerable distance in a straight line, so I was a little taken aback. But I was prepared for it from the training stage onwards."

　In addition to performing in the collaborative performance, he also serves as the director.

　"I have my own thoughts about the disaster. I would like to share those thoughts with Hanyu and create a worldview together."

　The collaboration between these two top-class performers transcends genres to create new chemical reactions.

　"We have exchanged emails since our conversation in 2015. I sent him a congratulatory message on his second consecutive Olympic victory, and in return he sent me flowers at my performance in Sendai. So we have a connection, and this time we have a direct collaboration, you could say. We are able to combine the art of skating with the art of Kyogen. I am happy that we can concretely express ourselves together this time."

　[Note 1] The place where many victims of the Great East Japan Earthquake in March 2011 were laid to rest.

Source: https://hochi.news/articles/20250305-OHT1T51268.html?page=1https://hochi.news/articles/20250306-OHT1T51206.html?page=1

Notte Stellata 2025 Day 1 - Bolero (Mansai Nomura x Notte Stellata cast)

Notte Stellata 2025 Day 2 - Bolero (Mansai Nomura x Notte cast)

P.S. The very beginning, I had to cut it because the file size goes over Tumblr's limit. The skaters come in one by one in their assigned lit up circle and lay down their cloaks. They appear as summoned by Mansai as he walks from the edge of the ice to the centered stage.

Notte Stellata 2025 Day 1 - SEIMEI (Yuzuru Hanyu x Mansai Nomura)

I missed watching figure skating 😭 Thank you YouTube for giving me Yuzuru's Seimei skate again