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1000 Degrees Of Sergei

1000 Degrees Of Sergei

1000 Degrees Of Sergei

As some of you know, I find the relationship between dance and music fascinating.  By simply changing the music, identical steps and choreography take on a completely different nature.  It is so much fun to discover the differences the music can make in the tone, the mood and the overall feel of the piece.  There is a particular video of Sergei Polunin that I love to “play” with.

The video is “100º Celsius,” a ballet by Emil Faski.  It was performed by Sergei and Kristina Shapran during an episode of the “Big Ballet’ or “Bolshoi” television show.  It was a ballet competition show that Sergei entered upon arriving in Russia after leaving the Royal Ballet.

He won.

Here are my adaptations of the video, as well as the original.   Hope you get as much fun out of the “experimentation” as I did.

The Original

My Creations

“Breathless”

“Indigo”

“Moulin Bleu”

“Immersion”

Thank you Sergei, Kristina, and Emil.

 

About this post:

“1000 Degrees of Sergei”

This is a blog entry written by Pam Boehme Simon.  Thank you for reading.

Peace, Love, & Ballet… Groovy.

Peace, Love, & Ballet… Groovy.

Peace Love Ballet

Sergei Polunin is many things… and usually the superlative of every last one.   In this post, I choose to focus on something that (like most of what he does) not all of us come by naturally… his groove.  Sergei is, without a doubt, wicked groovy.  Boasting the swagger of the young and carefree, he fuses exquisite ballet technique, superb natural abilities, and stunning physical attributes into one very cool persona.   Sergei palling up with David LaChapelle for the Diesel “Make Love, Not Walls” promotion was a groundbreaking, masterpiece of psychedelic peace, love, and harmony.

Yes, he is a white tights ballet god if there ever was one, but, never has a pair of jeans looked so good.  The film footage is stunning and shows off his youth, talent, and exuberance.  His happiness is contagious, and one cannot help but smile and step a little lighter after watching the production.

I choreograph with pixels

Now, as one who looks at video as a raw medium to be played with, celebrated, promoted, and spread forth even farther across the vast interwebs, “Make Love, Not Walls” was irresistible.  First off, I give complete and utter props to those who created it in the first place and it is with great care that I honor their vision.  It is my goal to maintain their original ideas, plans, and wishes, and send worthy reincarnations of it out to to reiterate and reinforce their conception.

That being said, here are a trio of my works that were inspired by and born of Diesel’s amazing 2017 advertising campaign “Make Love, Not Walls,” by David LaChapelle.

 Let there be PEACE love ballet

Then, peace LOVE ballet

And peace love BALLET

Finally, peace love ballet SERGEI

Sergei’s Swan Swims

Sergei’s Swan Swims

“And The Swan Is Swimming”

Belcanto.ru

 Ekaterina Belyaeva, 11.10.2012

"Swan Lake" at the Stanislavsky and Nemirovich-Danchenko Theater

The ballet season at the Stanislavsky and Nemirovich-Danchenko Musical Theater opened on September 29 with Swan Lake.  Vladimir Burmeister’s version. Apart from the fact that it is a cult spectacle for the theater and, in general, a cult Russian ballet, plus the highest-grossing ballet of all time.  The “Swan” Burmeister celebrates several dates this season. Sixty years from the day of his birth will be celebrated with official festivities and even a mini-festival at the MAMT in April 2013.  Secondly, on September 9, it will be eighty-five years from the birthday of the first Odette-Odile Violetta Trofimovna Bovt (1927-1995).  The famous Moscow ballerina danced for thirty-five years on the stage of her native Stasika, becoming the first performer of many ballets of the post-war repertoire.

The main reason to visit this first performance of the season was not his “bearded” jubilees, but the debuts of young performers – Erika Mikirticheva and Sergei Polunin .

The latter began the duties of the premiere of the Moscow theater at the end of last season, having fled in February from London‘s Covent Garden. Despite his youth (22 years), the artist, apparently, experienced an existential crisis.  He got too much luck – he came from Ukraine, he joined the celebrated English troupe, quickly became principal, he danced a dozen leading roles from Capt. Solyon in the “Winter Dreams” of McMillan to Solor in La Bayadere.  In passing, I found out that he does not need a free flow of roles, if there is no time for reflection.  Polunin resigned and went into hiding until he was caught up with the call of the choreographer of the ballet MAMT Igor Zelensky with an invitation to Moscow to work and with promises of a creative atmosphere (in one interview, the artist complained that his English director, Monica Mason, had never even really talked to him ).

"Swan Lake" at the Stanislavsky and Nemirovich-Danchenko Theater

The atmosphere for the dancer was unusual: almost two hours it was necessary to be on stage and only twenty minutes of them to dance – basically as a ballerina supporting partner.

The fact is that Burmeister, when composing his version of Swan in 1953, made changes mainly to the plot, to the composition inside the paintings, to the music and the party of Odile, and Siegfried received almost nothing in comparison with the pre-revolutionary editions.  Burmeister in the play has a prologue and an epilogue, which clearly tells the story of the transformation of Odette into a swan: a curtain opens in the middle of the overture, a young girl in a white dress runs out from the wings, an evil owl (Rothbart) stands on a rock and wings theatrically, the girl disappears imperceptibly,  Then on the flat lake in the background a plastic swan moves in the crown, the curtain closes, and the music still sounds for a few minutes.

The whole of the first picture Prince Siegfried nervously wanders around the stage, drinking wine from the cup, humbly nods to the Queen Mother,

while his friends and a jester entertain him and themselves dancing to the music that was originally written by Tchaikovsky for this picture, but later partially capped, and partially used by Petipa to create his brilliant black pas de deux 3 act.

The courtiers flaunt semiclassical dances, which once made their creator famous, and today look very archaically – as museum exhibits from the era of the USSR. All the time you expect that secondary characters with jumps to dull sixth positions will give way to the handsome prince, but will not happen. The second picture corresponds to the classical white picture of Lev Ivanov, only in a shortened format (there are fewer swans, the amplitude of all movements is more modest).

"Swan Lake" at the Stanislavsky and Nemirovich-Danchenko Theater

The main trick for setting Burmeister – the third picture. Odile as a fatal woman appears at the ball along with the Spaniards and accompanied by Rothbart (absolutely pedestrian character). She seduces the prince not because she looks like Odette, whom he is in love with, but because he looks like Carmen, and she seduces everyone. Black pas de deux at Burmeister also exists – but in his author’s choreography (with tricks like a Don-Kikhotovsky jump of a ballerina in the hands of a partner) and to the music known to us on the Pas de de Tchaikovsky-Balanchine. At the same time Rothbart ( Anton Domashov ) constantly sympathetically interferes in the personal life of her daughter and her alleged bridegroom right at the time of their main dance. It is clear already that

Polunin, when he reached his short variation, gave out to the maximum – picturesque pirouettes, double tours with accurate landings in the fifth, stone solid, etc.

In pantomime and gaming pieces Polunin kept in character delicately, which pleased.

The fourth picture is not significant, except for the sugary, fantastic-plastic happy ending. Odette does not just not die a swan, she survives and regains her human appearance (puts on a dress and looks like a fairy Alyonushka) to match Siegfried.

The work of Erika Mikirticheva was rather liked, although she still has to sharpen the role.

There were a lot of technical inconsistencies that would improve in time. Actress’s audacity Odile, she threw out with interest, but not enough aplomb and, in general, hardness in the movements.

In the theater they openly say that they have a change of generations.

Two debuts of the young in the first ballet evening – this is a good start. We will wait for the continuation. October 29 Polunin will dance Basil in “Don Quixote” A. Chichinadze – another rarity from the “treasury” MAMT.

Photos by Mikhail Logvinov

 

Sergei Helps Make A Ballerina 2018

Sergei Helps Make A Ballerina 2018

Need To Turn A Hollywood Star Into a Ballerina? Call Kurt Froman

By Jennifer Stahl for Dance Magazine February 2018

Kurt Froman with Jennifer Lawrence, whom he coached for the upcoming film Red Sparrow
 How does someone go from a New York City Ballet corps member to training Hollywood A-listers like Natalie Portman, Rooney Mara and Jennifer Lawrence? By getting injured, says Kurt Froman.

When an ankle sprain left him sidelined a few years back, Froman was “sitting at home, depressed” when he sent his friend Benjamin Millepied an email asking what he was up to. It turned out that Millepied just been hired to choreograph some scenes for a movie, but had to be in Paris during pre-production. “He needed someone to teach two actors choreography and get them in shape,” says Froman. With nothing else on his plate, he said yes, and started prepping Natalie Portman and Mila Kunis for Black Swan.

Since then, one gig has led to another. Froman helped Rooney Mara get more comfortable in her body for some dance-y scenes in Terrence Malick’s Song to Song. Amazon hired him to train Christina Ricci to perform a short solo on pointe for its TV series “Z: The Beginning of Everything.”

His latest highprofile gig was training Jennifer Lawrence for the big-budget spy thriller Red Sparrow, in theaters March 2. He talked to Dance Magazine about what it takes to speed-learn ballet, how much these kinds of gigs pay and what he has to say to all the ballet-in-Hollywood haters.

Froman Had To Create A Believable Bolshoi Principal

With no prior dance training, Lawrence had to pass for a Bolshoi principal during a six-minute sequence Justin Peck was choreographing for the beginning of Red Sparrow. Although Isabella Boylston would be her dance double, Lawrence needed to be able to hit the right marks at the right time, with believable épaulement and port de bras for the visual effects to work.

“Jen had to know all six minutes of choreography, the rises and falls of the body, how to hold her arms correctly, how to be lifted by her partner [Sergei Polunin], how to do finger turns and spot her head,” Froman says. To make sure she hit the right steps at the right time, they filmed her under tempo at about 75 percent of the actual speed. But she impressed everyone involved by memorizing the full sequence.

Froman Teaches More Than Just Ballet Class

Froman and Lawrence worked together for three and a half months, four hours a day, five days a week. Before diving into Peck’s lightning-fast choreography, they’d start with 45 minutes at the barre each morning to help Lawrence learn the rules of ballet. “Also, for the character, it was helpful for her to have the discipline and get used to someone touching her and correcting her like ballet masters would,” says Froman. They worked with rotation disks to help her understand turnout, and did strength training to develop a ballet dancer’s deltoid muscles. (Lawrence also had a separate Pilates and fitness teacher.)

He Breaks Down All the Little Details

Training a Hollywood actor isn’t just about teaching them steps. Froman also has to break down things like the philosophy of ballet—why a certain angle is considered more beautiful than another—and how dancers hold and care for their bodies.

Froman showed Lawrence archival films of iconic Balanchine ballerinas like Merrill Ashley, Maria Tallchief and Melissa Hayden performing Firebird to explain the difference between this bird and Odette/Odile.

“The director, Francis Lawrence, also had me talk to her about things like how would a dancer sit—if she were sitting on a bed, would she be rubbing her feet, or doing a hamstring stretch? How would she walk down the street? Things that had to be carried throughout the film.”

The Paycheck Is Surprisingly…Ordinary

Froman says the pay for these projects varies based on who’s hiring him and what the budget is. But he hasn’t exactly hit the Hollywood jackpot. For Black Swan, he agreed to a flat fee that didn’t amount to much once he put in all the hours. Now he charges an hourly fee. “It’s adequate compensation,” he says, “but no more than what a personal trainer would get.”

Froman on the set of Black Swan. Photo via Vimeo

He’s Tapping An Undiscovered Market

Froman has realized that, beyond just training in ballet, there are many actors who simply want to be more comfortable in their bodies. “If they know there’s a dance scene, they want to feel capable and confident, they want to have options for what they can do in the moment.”

Froman Loves Helping Bring Ballet To The Masses

Although Hollywood sometimes gets flak from the dance world for misrepresenting the art form, Froman relishes the opportunity to reach a broad audience. “When I started dancing in Texas in the 80s, there wasn’t anything out there that I had as an example of what I wanted to do, except The Turning Point, which I would watch every day,” he says. “I’ve loved having a hand in this process, and feel lucky to pass on my art form.”

 

It’s Elemental!

It’s Elemental!

Earth, Air, Fire, Water… and Sergei!!

“Elemental” Sergei Polunin / Сергей Полунин

Earth – La Bayadere

Air – Sleeping Beauty

Fire – Marguerite & Armand

Water – Sleeping Beauty

Music: “The Long Story” by Damiano Baldoni with permission under license: https://creativecommons.org/licenses/

Please subscribe to my Youtube channel: https://www.youtube.com/c/PamBoehmeSimon For additional videos and info, please visit my fan site at https://sergeipoluningracefulbeast.com

Sergei Polunin is a Ukrainian ballet dancer famous for his “once every hundred years” talent, his incredulous elevation, his impeccable technique, and glorious dramatic range. He brought an unprecedented new awareness to ballet when he danced in Hozier’s viral video ”Take Me To Church.” He starred in Diesel’s “Make Love Not Walls” campaign, and is a much sought after model and actor. He has appeared in such films as Murder On The Orient Express, Dancer (a documentary of his life), White Crow, and Red Sparrow.

This is a ballet|Полунин балет iMovie by Pam Boehme Simon.

Thank you for watching.

Sergei Upstages Everyone In Balanchine’s 2010 T&V

Sergei Upstages Everyone In Balanchine’s 2010 T&V

Royal Ballet Mixed Bill – A Review

3/5stars

Royal Opera House, London

Two ballets about separation dominate the Royal’s latest mixed bill – Kim Brandstrup’s Invitus Invitam and MacMillan’s Winter Dreams. Each of them has a pair of tragic lovers at its centre, each attempts to compress their story within a single act.

In every other way the two are poles apart. Brandstrup’s new work makes a poetic virtue of its own compression. Its lovers are the emperor Titus and his mistress Berenice, about whose separation nothing is known beyond a simple report by the historian Suetonius that “against his will and against her will they parted”.

Inspired by the agonised resonance of those few words, Brandstrup constructs his ballet out of three short duets. Set to Thomas Adès’s Three Studies from Couperin, these are passionate, fluent exchanges between Titus (Edward Watson) and Berenice (Leanne Benjamin) in which every small inflection as well as every turbulent lift comes saturated with challenge, tenderness, despair. Particularly eloquent is the transition from the flaring, conflicted lines of the first two duets, where the couple are still in partial denial, to the heartbreak of the third. Here, the spare formality of Adès’s music expands to romantic fullness and the choreography mimics it with a melting folding anguish.

What the ballet deliberately avoids is any sense of why Tito and Berenice have to part. Instead it punctuates the duets with interludes of “real stage time” during which we watch scenery (bare brick walls) being shunted onto the stage. These gaps act as question marks, invitations for us to imagine the backstory ourselves. Yet while they’re one way of solving the problem of narration, especially in a one-act ballet, they introduce an element of awkwardness.

Winter Dreams is awkward in many other ways. In this version of Three Sisters, MacMillan puts all of Chekov’s main characters on stage, then ambitiously attempts to contain their different stories within a succession of short danced vignettes. Given the right ensemble, these vignettes can gel into an atmospheric evocation of the play. But with Carlos Acosta badly miscast as Vershinin, even the delicately drawn suffering of Marianela Núñez’s Masha doesn’t begin to make it hang together.

The fun of the evening comes in the two works that open and close it. Lauren Cuthbertson delivers a pitch perfect fusion of period glamour and intelligent style in Ashton’s La Valse. Sergei Polunin, in a miracle of classical precision, virtuosity, and romantic uplift, upstages even Tamara Rojo in Balanchine’s Theme and Variations.

Tamara Rojo and Sergei Polunin in the Royal Ballet’s production of George Balanchine’s ‘Theme and Variations’ at the Royal Opera House Covent Garden in London. (Photos by Robbie Jack/Corbis via Getty Images)

Something In The Way He Moves

Something In The Way He Moves

Sergei Polunin / Сергей Полунин “Something” in the way he moves.

 

Sergei Polunin is a Ukrainian ballet dancer famous for his “once every hundred years” talent, his incredulous elevation, his impeccable technique, and glorious dramatic range.  He brought an unprecedented new awareness to ballet when he danced in Hozier’s viral video ”Take Me To Church.”  He starred in Diesel’s “Make Love Not Walls” campaign, and is a much sought after model and actor.  He has appeared in such films as Murder On The Orient Express, Dancer (a documentary of his life), White Crow, and Red Sparrow.

Please consider subscribing to my Youtube channel:  https://www.youtube.com/c/PamBoehmeSimon?sub_confirmation=1

and “like” my playlist “Sergei Polunin, Graceful Beast” if you were pleased.

For additional videos and more, visit my fan site at https://sergeipoluningracefulbeast.com

This is a ballet | балет iMovie by Pam Boehme Simon.

Thank you for watching.

The Royal Ballet: Sylvia, A Review

The Royal Ballet: Sylvia, A Review

The Royal Ballet: Sylvia, A Review

4/5 Stars

Royal Opera House, London
Judith Mackrell

Monday, 8 Nov 2010

sergei in sylvia
Debut lovers … Lauren Cuthbertson (Sylvia) and Sergei Polunin (Arminta) in The Royal Ballet’s Sylvia. Photograph: Tristram Kenton for the Guardian

The lovers in Ashton’s Sylvia barely get to dance together until the final act. And in the case of Lauren Cuthbertson and Sergei Polunin – both making their debuts this season – that’s no bad thing. As a partnership their chemistry doesn’t really click – but in this particular ballet it doesn’t prevent either of them flourishing as individual performers.

The pleasure of watching Cuthbertson lies partly in her unpredictability. Aspects of her dancing are almost old fashioned: the neat straight lines of her technique; the detailed regard she has for style. But she can also be startlingly reckless. She goes full tilt at every challenge, practically leaping over the orchestra pit in her opening jumps, fizzing through the third act pizzicato variation with giggling speeds. In her acting, Cuthbertson never hides behind the easy, text-book gesture. She makes you feel the prickle of fear down Sylvia’s spine when she senses the threat of the predatory Orion. When she believes she has killed Aminta, her body appears to shrink with grief.

Polunin is cast in another mould: Russian on a grand scale. But he also dances with a detailed musical intelligence, shaping and finessing the big steps as succinctly as the little ones. Aminta can easily be sidelined as the ineffectual pretty boy waiting for fate to deliver Sylvia into his arms; Polunin gives the role romantic gravitas by the force of his technique. As a partner he needs to mature, however. While he and Cuthbertson can act a good love affair, in the grand and sexy imagery of the final pas de deux we are too aware of the mechanics, and the difficulty of the partnering. Otherwise theirs is a very promising debut, and it comes with some fine ensemble playing. The assorted naiads and fauns are excellent; Akane Takada is an unfeasibly witty, winsome goat.

If You Fall, I Will Catch You

If You Fall, I Will Catch You

“If You Fall, I Will Catch You” Sergei & Natalia.  They are ballet superstars and real life companions.  The two met in Milan in 2015 when Sergei stepped in for an injured partner.  While performing “Giselle” they fell in love.  The pair have been close ever since.

Choreography: “Silent Echo” by Russell Maliphant

Alternative Music: “Hachiko” by The Kyoto Connection with permission under license https://creativecommons.org/licenses/

 

If you fall, I’ve got your back…

The pair support each other as friends and professionals.  Sergei Polunin & Natalia Osipova are there for each other.  Literally and figuratively.  Onstage and off.   Out and about, attending events, bouncing ideas around at rehearsals, joining in on performances.  The stunning couple have a special bond without a doubt.

 

I you fall sergei polunin natalia osipova kiss
Sergei & Natalia

 

If you fall sergei polunin natalia osipova
Sergei & Natalia

Who Is Sergei?

Sergei Polunin is a Ukrainian ballet dancer.  Famous for his “once every hundred years” talent, he has incredulous elevation and impeccable technique.  From an early age, he displayed glorious dramatic range.  Home video of him as a tiny boy improving to Pavarotti are very foretelling.

Ballet gained an unprecedented new awareness when he danced in Hozier’s viral video ”Take Me To Church.”  People who never would have never paid any attention to ballet began to watch.  He is generally attributed with bringing ballet to the modern common man.  Classical, yet cutting edge, Sergei starred in Diesel’s “Make Love Not Walls” campaign and has put his mark on many other promotions.

Sergei is a much sought after model and actor. Fashion designers love his breathtaking physique and brooding good looks.  He has garnered only positive reviews for his acting.  His appearances include Murder On The Orient Express, Dancer, White Crow, and Red Sparrow.

 

If you enjoyed this, please consider subscribing to my Youtube channel: https://www.youtube.com/c/PamBoehmeSimon

For additional videos and more, visit my fan site at https://sergeipoluningracefulbeast.com or my blog at https://pamboehmesimon.com




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