Uncategorized Archives | Sergei Polunin

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Sergei Teaches Ballet Class In Cuba, 2009

Sergei Teaches Ballet Class In Cuba, 2009

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Ballet teacher Sergei Polunin teaches Alexander Agadzhanov of the Royal Ballet and invited Cuban dancer Arrencibia during rehearsal on July 15, 2009, in Havana, Cuba. With its first visit to Cuba, the Royal Ballet of London also marks the first visit by an international dance company to the communist island in over 30 years. Performing five times between July 14-18, 2009 at the Gran Teatro and Karl Marx theatre, the company, who brought 96 dancers to Havana, performed both classical and avant-garde productions like ‘Chroma’, some of which the likes have never been seen on a Cuban stage. The company also made a tribute to Alicia Alonso and include dancers from the Cuban National Ballet. The week’s final performance was Kenneth Macmillan’s dramatic rendition of ‘Manon.’ Thousands of those who could not get tickets were able to follow the performances projected live on gigantic TV screens from the steps of Havana’s El Capitolio.

Sean Penn J/P Haitian Relief Gala

Sean Penn J/P Haitian Relief Gala

SEAN PENN J/P HRO GALA: A Gala Dinner to Benefit J/P Haitian Relief Organization and a Coalition of Disaster Relief Organizations
LOS ANGELES, CA – JANUARY 06: Sergei Polunin performs during the 7th Annual Sean Penn & Friends HAITI RISING Gala benefiting J/P Haitian Relief Organization on January 6, 2018 in Hollywood, California.

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Sergei, A TRUE Artist

Sergei, A TRUE Artist

“I never look online, I have no idea how I’m perceived or how people look at me.”  – Sergei Polunin

I saw this quote on another site above an article about Sergei.  A realization hit me like a ton of bricks.  Sergei is a TRUE artist, probably one of the few in the world, IF you go by a widely held belief that artists true to themselves and only themselves.  You hear them say it all the time.  My vision, my belief, my feelings, my expression, nobody can tell me what to think, say, paint, create, etc. etc. etc… me, me, me, me, ME!  But, they’re the first ones to sway the other way when the winds shift.

But not Sergei.  Not.  Sergei.

He remains true to himself.  Always.


Sergei Polunin: Ditch imposed gender roles & chase dreams!

Sergei Polunin: Ditch imposed gender roles & chase dreams!

Sergei Polunin: Ditch imposed gender roles and chase your dreams

The world-famous ballet star sent the empowering message of self-confidence ahead of his Project Polunin’s Satori opening at the London Coliseum this week.

“You have to get the vision and you have to grab it,” he told Gay Times of how his confidence and belief in himself fought insecurities throughout in his life. 

“It’s a game to try and shorten the time to get it, but you’ve got to always be determined because if you truly want something, there’s no way you cannot get it. The worst thing is to make excuses to why you can’t get it, and ego will be strong in protecting you from being hurt. 

“Having an ego doesn’t mean you thinking you’re the best, it’s about it maybe telling you to ‘not go there because they might say ‘no’ or hurt you’. I’ve had this fear and still have this fear, but I have to be brave to succeed. Every time you go anywhere new, you have to be brave – it’s about not thinking about it and just going for it!”

Sergei applying the theory of self-worth to his recent breakout into Hollywood movies – a chance that finds him alongside Dame Judi Dench and Johnny Depp in Murder on the Orient Express. It’s a movie that almost didn’t happy due to his own insecurities.

“I almost didn’t take this big step for the movies as I was scared to fail, and that would crush my dreams,” Sergei begins in reference to temporarily stepping away from ballet and onto the big screen. “They will say ‘no’ but I had to be brave and go there!”

With Satori’s opening almost upon us, the ballet superstar dismisses any suggestion of gender roles – insisting that you can choose your own destiny and life choices – including that of boys and ballet.

“I had a lot of respect when I was a kid for doing ballet in Ukraine in my yard,” he begins – a seeming polite middle finger to that of closed minds and insisting gender roles with society.

“I went and the teacher said that ‘if you’re good at this then this is a man’s job’, and if not then leave it and try something else. I always thought doing ballet was a manly thing to do and it was. I had that confidence to believe in me!”

Sergei hopeful that audiences’ time in the arms of Satori awaken a youthful sprit that’s true to their childhood. 

“I’m hoping it will awaken a trust essence in them and they will come back feeling as they were as a kid. How they should be as true as when they were kids. I’m hoping people can go backwards in a way because I think that’s the truest.”

More information on Satori can be found here

Sergei says “ballet must shake off elitist image or die” July 29, 2017

Sergei says “ballet must shake off elitist image or die” July 29, 2017

Sergei Polunin says ballet must shake off ‘elitist image’ or die

Controversial Ukrainian star says classical dance must seek out talented directors from the worlds of films and musicals

Sergei Polunin in rehearsals with his own ballet company.
 Sergei Polunin in rehearsals with his own ballet company. Photograph: Sarah Lee for the Guardian

Ballet must get rid of its elitist image, seek larger audiences and woo the best directors from films and musicals, according to Sergei Polunin, one of classical dance’s biggest and most outspoken stars.

The Ukrainian, who controversially quit the Royal Ballet in 2012 aged 21, will return to Britain in December, performing with his own company, Project Polunin,at the London Coliseum.

Polunin, now 27, told the Observer that he feared for the future of his art: “It’s almost died, classical dance. There’s a lot of interest from the public, but if nothing happens from inside… ” Audience numbers were too small to interest the most talented directors, who prefer to work elsewhere, he observed: “There’s no directors. There’s no new music written.”

Dance was a language that everybody understood, he said: “It opens up people’s minds. Unfortunately, in our society, nobody wants people to think. So that’s why it’s kept too elitist, but my goal is to open it for everybody.” The Royal Ballet had “started slowly to open up”, Polunin said: “They have such a great name, they can expand like crazy. They can be the biggest thing in the world. They decide to keep it to themselves, to the small world of those people.”

He added: “They show football every day on TV. You don’t see ballet.”

The Royal Ballet said that the company was “increasingly reaching out to larger audiences”, with live screenings in hundreds of cinemas in the UK and 35 countries and subsidised tickets, among many programmes: “Digital technology has particularly helped us reach new audiences and World Ballet Day, initiated by the Royal Ballet, last year had more than 6.7 million views on Facebook.”

Polunin’s own YouTube video – in which he danced to Hozier’s Take Me to Church – has been viewed more than 20 million times.

As a child prodigy, he studied at the Royal Ballet school. In 2010, aged 19, he became the company’s youngest-ever principal – only to shock the dance world in 2012 with his sudden departure. His future plans include establishing an agency to look after dancers, many of whom receive neither enough money nor recognition, he believes. Ballet was “probably 20 years behind” other industries, he said.

“There’s no agents or managers to represent them. Dancers don’t have any voice. They have nothing.” The pay was particularly shocking as stage careers were so short, he said: “Nobody can afford a flat to live in. They have to share to be able to survive. In a place like the Royal Ballet, that shouldn’t happen.”

“Corps de ballet [dancers] get a monthly salary of [around] £1,800, which is ridiculous… You only have a 10-year career. You don’t have longer. This is it. It’s a very hard profession and you have to go through the longest [training] . It’s like nine years.

“I danced in corps de ballet for 11 hours a day. That was the hardest work I have ever done in my life. I haven’t seen anybody else work more.” These dancers “will be left alone when they’re 35”, he said. “That’s the problem. Nobody will need them.”

He believes one way of furthering careers may be for older dancers to become agents for younger ones: “We need to create this infrastructure for us to exist. Otherwise, there is nothing. There is emptiness. I know dancers who are like tramps now. Most dancers are lost after [their career finishes] because, imagine from age nine, all you did was dance… and suddenly you can’t do that.”At the Royal Opera House (ROH), he said, a “little bit of money from opera advertisements” would enable Royal Ballet dancers to be paid three times as much as they got now. Through Project Polunin, he also wants to extend the working life of dancers by giving them an actual voice in dance-theatre productions.

 Project Polunin, London Coliseum, December 5-10. Public booking opens 10am on Wednesday.


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