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Stunning Pics Of Sergei By Alessia Santambrogio

Stunning Pics Of Sergei By Alessia Santambrogio

Stunning pics of Sergei by Alessia Santambrogio

On Saturday, February 3, 2018 the famous dancer Sergei Polunin and company inaugurated the new edition of ParmaDanza at the Teatro Regio.  Natalia Osipova and soloists from some of Russia’s most prestigious theaters joined Polunin onstage.  A highlight of the performance was the national debut of Polunin’s work, Sartori.

The idea comes from Project Polunin , an artistic project that aims to produce new choreographic creations thanks to the collaboration between dancers, choreographers, musicians and artists from different fields.

For Sergei Polunin, Satori represents his own path of reunion with love for dance and passion for art.  It is the culmination of a personal journey.  He brought together a group of artists with whom he created a program that consists of three parts, including two new productions.

project_polunin_ © alessia-santambrogio-1

Sergei’s solo

On the stage of the Teatro Regio the program opened with First Solo , performed by Sergei Polunin.  It was created by the award-winning choreographer Andrey Kaydanovskiy.  First Solo tells of a man’s search for freedom through that same dance that makes him a slave.  It is profoundly personal for Polunin.  Its focus is the dualism between an artist’s life of commitment and his desire for freedom of thought and movement.

A rare treat

The show continued with Skriabiniana, a rare treat.  It is among the very few choreographies left completely intact by the great choreographer Kasyan Goleizovsky.  Finally, the evening ended with Satori, choreographed by Polunin himself.  Sartori is directed by Gabriel Marcel del Vecchio and boasts an original soundtrack by the award-winning composer Lorenz Dangel.  The production features scenes from works by photographer David Lachapelle.  Angelina Atlagic designed the costumes.

The public delirious for a chance to see Polunin brought about an immediate sell out.  The excellence of these international artists did not disappoint.  With their dance, they involved and excited the audience of the Regio di Parma.

Photographer Alessia Santambrogio

“My vision of the scene photographer is that of a silent and discreet presence that fits into the dynamics of the show, without interfering with them, but becoming an integral part of them. It is having its own artistic vision and being able to transmit it, knowing, however, to know and listen to the needs of those who create and put on show the show.”  – Alessia Santambrogio

A professional photographer, Alessia Santambrogio was born in Monza.  She was artistically and professionally trained at the Accademia Teatro alla Scala.  Alessia, graduating in 2011, immediately made an impact on the arts community.

She has photographed important productions and personalities of the national and international panorama of opera, ballet and theater.

Co-founder of the industry magazine Kairós Magazine , she actively collaborates as a photographer, author, copy editor and archivist. There are numerous publications in national newspapers such as Il Corriere della Sera , La Repubblica , Il Giorno and others.

She has participated in countless exhibitions, such as Birthday Album and La Scuola di Ballo of the Accademia Teatro alla Scala.  These works were promoted by the Bracco Foundation and the Accademia Teatro alla Scala.

All photos by Alessia Santambrogio.

 

Bad Boy Days Are Behind Him

Bad Boy Days Are Behind Him

Bad boy days?

Not so bad at all…

Project Polunin Donation

Project Polunin Donation

DAVID BEGBIE’S ‘CZIN’ DONATED TO PROJECT POLUNIN

David Begbie - Project Polunin donation

Contini Art UK

News – 8 March 2017

David Begbie MRBS has donated his sculpture “CZIN”, 2016, to a silent auction in aid of Project Polunin, a new production that will premiere at Sadler’s Wells Theatre, London. Taking place at the Project Polunin gala dinner, proceeds from the artist’s donation will help to support Sergei Polunin’s upcoming program. The unique sculpture is one of a recent series of figurative forms, both male and female, whose subjects are contemporary archetypal expressions of masculine and feminine where each contains aspects of the other. “CZIN” has a particular stance and posture expressing fitness, strength and balance; often witnessed within the discipline of contemporary dance and ballet.

 

project polunin donation

 

David Begbie is renowned for his figurative steel mesh sculptures and his work is exhibited and collected worldwide. His evocative, sensual and optically dynamic sculpture often comprise images of fine human physique, ‘CZIN’ 2016 being an excellent example of this. His rendition of a male dancer is poised in a way which implies, rather than describes, dramatic movement as it is a sculptural description of muscular tension, elegance and control. The artist’s intention is to place emphasis on the male dancer’s physique whereby the dancer’s body has become a finely tuned instrument or medium for creative artistic expression and quite literally as a creative physical force. Begbie’s transparent sculpture encapsulates an enigmatic and elegantly poised figure, captured as a timeless moment of three-dimensional suspended animation. The meticulously shaped metallic membrane absolutely convinces the viewer that a living, breathing human presence occupies the space, delineated by Begbie’s sculptural skin. Using strategic lighting a compositional fusion of sculpture and projected shadow transforms the stoic image into a dynamic and dazzling optical celebration of human physical form.

The Project Polunin Gala Dinner took place on the 23rd of Ferbruary 2017 at the Banqueting House, London. The artist’s donation was a part of a silent auction; bids were being placed on Givergy tablets throughout the evening, while there was also a live auction conducted by Peer MacDonald, a raffle draw and a live performance by Lisa Friend and Sergei Polunin.

 

project polunin donation

 

Sergei Polunin is a prestigious Ukranian ballet dancer, seen by many as the natural heir to Nureyev and Baryshnikov. Sergei enrolled in the Royal Ballet School at the age of 13, in 2003. He became a first soloist at the Royal Ballet in 2009 – and in June 2010, the Royal Ballet’s youngest ever Principal Dancer. Sergei left the Royal Ballet in 2012 and went to Russia at the invitation of Igor Zelensky, to dance with the Stanislavsky Music Theatre in Moscow and the Novosibirsk State Academic Opera and in 2014. Sergei started his collaboration with the famed American photographer and music director, David LaChapelle, starring in the stunning dance video of Hozier’s Take Me to Church. Sergei achieved global recognition when Take Me To Church went viral, receiving more than 16 million hits; the video proved to be the seminal change in Sergei’s career aspirations when it formed the center piece in “Dancer”, a highly acclaimed documentary, created by Gabrielle Tana.

 

 

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.

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.

An Iconic Ballet Pose By A Ballet Icon

An Iconic Ballet Pose By A Ballet Icon

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

January 1, 2018 Interview

January 1, 2018 Interview

What do Kolobok and Sergei have in common?

Turlyan premiere. Sergei Polunin about the death of classical ballet

The ballet dancer Sergei Polunin told Fokus about the road not upwards, but downwards, what he and the hero of the fairy tale Kolobok had in common, and about his desire to combine dance and theater

At four years – gymnastics in his native Kherson. At nine – moving with his mother to the capital and studying at the Kiev Choreographic School. To give Sergei a chance to break through, his father goes to work in Portugal and gets a gardener from a wealthy family, and the grandmother finds a job as a nurse in Greece. At the age of 13, the future world ballet star is sent to study in London. At 17 he joined the Royal Ballet Company, and at 19 he became the youngest principal in the history of the troupe.

In the conservative world of ballet, Polunin quickly gained fame as a violator of foundations. Outside the scene, the young star coped with stress through parties, alcohol, drugs and new tattoos. His then nicknames are The Bad Guy, James Dean of Ballet and the Embodiment of Jumping Outside the Line. The name of the premiere rebel began to appear not only in enthusiastic reviews, but also in the yellow press, who did not miss the opportunity to publish reports with details of his next “release.”

While society was wondering whether the search for young talent was a successful PR move, Polunin announced his departure from the Royal Ballet. When two years ago the Ukrainian decided to say goodbye to the stage, his swan song, With the track Take Me To Church, it scored 21 million views on YouTube. “Obviously, the laws of gravitation for Mr. Polunin act differently,” one of the commentators wrote. “He moves as if he has wings,” others agreed.

WHO IS HE


He was born in Kherson. He studied at the Kiev Choreography School. At the age of 19 he became the premiere of the London Royal Ballet. Since 2016, the invited soloist of the Bavarian Ballet, author and soloist Project Polunin.  In 2017, a Ukrainian documentary film “Dancer” on the career of 27-year-old Sergei Polunin.


Forward to the past, and Kolobok?

What kind of eyes do you now look at yourself, a 6-year-old boy on video, in a T-shirt and shorts? What would you like to say to this boy now?

– “I would say to him: “Be yourself, listen to yourself and your intuition.” Now I’m trying to restore the internal state in which I was then. This is the most correct perception of the world and the most organic state of man.

Recently I had an interesting event. For filming in the film, I for a while became a blonde. And then a couple of days ago, when I had my hair dyed black, I looked in the mirror and suddenly I saw myself as small. It’s great. We must not forget how you were in childhood.

By the way, before the age of 13 I was the same as in 6-7. But just at 13-14 years has changed, unfortunately. I forgot myself a little. And about 25 again began to recover.”

What happens to a person who by the age of 19, when his peers are just starting a career, is on a professional peak? Feeling like a superman?

– “It was disappointing: you are achieving what you were going for, but it does not give you the satisfaction that you expected. For me it was a road not up, but down.”

Did it ever occur to you that the family paid too high a price, putting everything on you?

– “Speaking about the fact that the family broke up, – yes, probably. But if one day I decide to give birth to a child, I will do everything so that he, like me, will get a chance.”

And the right to choose? 

– “Yes, it must be. The child knows what he wants, it’s already laid. Parents can reveal his talent, give the opportunity to try everything and help him see what he can.”

Speaking on stage in the framework of Project Polunin, you stopped masking your tattoos. In one of the interviews, they were called what you associate with free people.

–  “You achieve what you came for, but it does not give you the satisfaction you expected, for me it was not a way up, but down.”

– “At first it was so. In London, I was an immigrant with a work visa. One mistake my colleagues did not like or a fight in the street – and I would be kicked out of the country. The visa was extended for a year. Every time for a year.

I experienced constant pressure and an absolute sense of unfreedom. And yes, I could not do tattoos. In the ballet, this is not accepted. And in the offices, by and large, this was unacceptable. Probably, that’s why I liked the people they had. I thought: Here they are, free people who do not depend on their work, they have complete freedom. They do what they want.

When I filled the first tattoo, the leadership gathered the whole theater and officially banned them. Later tattoos became the norm, and David Beckham made them more popular.”

Two Plains

Which of the children’s fairy tales is closest to your story?

– “The Gingerbread Man,” remember “I left my grandmother and left grandfather. And *Kolobok, which is rolling somewhere ( laughs ).”

*Kolobok is the main character of an East Slavic national fairy tale with the same name, represented as a small yellow spherical being. The fairy tale is prevalent in Slavic regions in a number of variations.

He will not be eaten?

– “I do not know. But at some point Kolobok should stop running away. Which I did. All that I knew before was to destroy, leave and rebuild in a new place. I did it once, then again. And I realized that this is a habit. There is a risk to get carried away. Then I realized: you just need to create, build.”

There are at least two Sergei Polunin. One is called a “bad guy in the ballet”, they reproach him for sloppiness, hobby for alcohol and drugs, going beyond what is permissible. Second Polunin is shown in the film “Dancer”: a boy who submitted to the will of his mother, fulfilled the requirements of teachers, showed diligence, which eventually made him the premier of the Royal Ballet in London. Even the temporary break with the ballet, this second Polunin designed stylishly. Which of these two is the real you?

– “There was a time when I read the press and believed in it. And played along. You get used to the image and then forget who you are.

But in what way it was, I love to work, set a goal and achieve it. People are not always ready for this. Many people drop their hands: come what may. You say: “No, it’s probably wrong, let’s think about how to fix it.” And immediately you in the eyes of these people are bad. It is easier for them to decide that something is wrong with you, than to admit that the system can work incorrectly.”

kolobok is sergei polunin

These riotous little

What is the difference between Russian, Ukrainian and British ballet schools?

– “I think the Russian and Ukrainian schools are similar. The initial training in them is stronger than in the West. In ballet, the first four years are very important.”

– “it’s a machine. I was lucky, I had a talented teacher Eduard Borisovich Kostyukov here in the school (Kyiv State Choreographic School .- Focus ). He gave a good school. And after that, it was already easier for me to develop. And the dance was taught to me by Nikolai Danilovich Pryadchenko, the late teacher of the National Opera of Ukraine. He gave me an understanding of how to behave on stage, the artistic part. And with this education I went to the West.

The strength of Western educators is that they pay a lot of attention to acting. Their methodology was built around the Russian school, but with innovations. Which, in my opinion, made the school weaker. But the fact that they made the ballet theatrical, this is a plus. The game added a zest to their ballet. So I took the best and combined it into one: both the game and the pure dance.”

The world of ballet is small, and the competition is high. Over the years of work, you have probably come across not only with recognition and admiration, but also with envy. Was there a case that made you think: “Wow, if someone tries to annoy me so much, then I have already achieved something.”

– “There were no obvious signs of envy. But I remember that when I came to work in the theater, I naively believed that I could make friends with all. At least sincerely tried to do it. I was met rather coldly and firmly pushed. After that I decided to keep my distance. I maintained friendly relations, but I did not really make friends with any of my colleagues.”

What is happening today with the classical ballet? Is it more alive than dead, or vice versa?

–  “The ballet is more dead than alive.” And there is nothing very interesting there. The best managers, the best musicians do not go to work with the ballet – apparently, not a big enough audience for them. They prefer movies, games, musicals, other platforms, where there are more spectators. They say if Mozart were alive today, he would write musicals.

To attract the best people to the ballet, there must be a strong industry. The ballet must be shown on television, in cinemas. Good advertising is needed. Dancers should have agent managers who would popularize them themselves, not the theaters where they perform. Now this is not.

Compare opera and ballet. Opera music works with big labels, it’s a huge turnover of money. The opera part of the theater is very rich, very free. The musicians also have strong professional solidarity. Dancers do not have this. They are defenseless, like children. Dancers from school are used to: they tell you – you do it. Silently. They can not even object if they disagree with something. So taught. This, of course, is very convenient for the theater. But not for the industry. In order for it to grow, you need to unite and defend your rights.

The ballet age is short. Career – 10 years. People are changing. There are no those who would say: “Sorry, it will not work.”

Dancers “write off” to retire at 35 years. Does it frighten you?

–  “No, it does not.” I would like to combine the dance with the theater. Take Mikhail Baryshnikov. I do not know exactly how old he is. In sixty? (Baryshnikov is 69. – Focus ). He combines the dance with the theater. And it’s very interesting. We will get something with amazing energy. I will try to put on performances in a new genre. This will bring the dance to a new level and prolong the career of the dancers.”

You rushed to learn a new skill for yourself, in particular, cinema. In “Listen to the song of the wind,” Murakami has these words: “While you are learning something new, aging is not so painful.” Is not that the reason?

–  “When I left the Royal Ballet, I could say what would happen to me in 15 years.” Because there were examples, and history always repeats itself. I thought: “Yeah, I’ll have this and that, and they’ll do this to me and so on.” Is it nice for me? I realized that I had to find another way. Therefore, when I thought that I would leave the ballet, I asked myself: what could I do and want to do? What would make me happy? The answer came instantly: “Cinema“. I loved cinema from my childhood.”

One step before the end of a career

To put the last dance under Take me to church, being in excellent shape, remaining a favorite of spectators and having at least another ten years of ballet career in reserve, is a decisive act. In such situations, the choice of a song is not accidental. Which line from this composition of the Irish musician Hozier is the most important for you?

– “I do not know. In fact, for me, it’s not the lines that matter. I felt the song intuitively. Caught the emotion. And when I rehearsed, I did not dig into words. But the strongest – the first, with the phrase my lover. And the one in which “amen” is sung.”

In this song there are the words I was born sick, but I love it, command me to be well (“I was born sick, but I like it, but lead me to be healed”). Who or what prevented you from being healed of the ballet?

– “To attract the best people to the ballet, there must be a strong industry. Ballet needs to be shown on television, in cinemas.”

– “Feeling like I’m leaving something. That is, I could do something for people, and I leave them. It was like … ( pause )”

On betrayal?

– “It is possible and so to say. Only the feeling of guilt was not there. Rather regret. I regretted that I let down people who needed dance: spectators, dancers.

Then I had no idea that I could change anything. There were no options. It’s just a pity – before my Kiev teacher Nikolai Pryadchenko, before my parents too: I left them for a long time without support and information about what will happen to me next.

I knew that becoming an actor is a long way. And you can never be sure when you will be given a chance. Parents could not know for eight years what awaits me. It was complicated. And I realized that I could not leave it like that. Perhaps, you correctly noticed: such an act could seem to me a betrayal.”

You still feel responsible to your parents, teachers, spectators.  

– “Yes. But now I see that you can change a lot. And I know how.”

Second wind

On the way to the ballet Olympus, for many years you had to keep yourself in an iron grip. Is there a temptation to let go – just because you can afford it now?

– “Not interested. Now it all depends on me – I can rest at any time. But when you decide what to do, you do not choose rest. Such a strange psychology. The more freedom you have, the more work you gain. Well and when it is necessary to earn, then yes, you try to escape from it.

I can fly, move every day. I’m not tired. Because it is a new energy. And if I sit a week in one place, I start to get tired. He also annoys me when I am doing the same thing for a long time. The routine for me is death.”

Rehearsals are also routine.

– “Yes, that’s why I do not like to rehearse. I’ll keep it to a minimum. But again, I do not rehearse in the usual sense: I’m like, I’ll remember and show the spectator. That is, the first time I dance in public, before people.”

What does the average day of Sergei Polunin look like?

–  “The craziest day happened a week ago.” I have been shooting from 6am to 11pm. Even at this time I need to work out in the ballet class. That is, I did it in the afternoon or in the morning. Has slept, has woken up. They called me, I had to withdraw. I shot, the same day I flew from Serbia to Munich, rehearsed until three o’clock in the morning. I learned a new choreography for the ballet to dance the next day. I do not remember exactly what ballet was. After that, jumped into the car, nine hours I was taken to Serbia, we did not have time to shoot. We arrived at six in the morning, began 15-hour shooting.

This week is also not boring. Yesterday I went to bed at two o’clock in the morning, after hours of filming. I fell asleep at three, At four I woke up, and at seven we already went to the canal. A lot of things, but thanks to the fact that the team is good, everything is thought out, and I just have to gain strength and survive ( laughs ).”

In what language do you think?

– “If we talk about common topics, in English. But now I’m getting used to talking in Russian, so I switch. It takes one and a half to two days. As for the ballet, it works not verbal, but imaginative thinking. I feel music, choreography, partner. I do not think it’s important to know what her name is, what a character is, this is information for the viewer. If they want, they will read it. I rely on intuition.”

Today you do not look like a hostage to your own talent, whose life is dedicated exclusively to classical ballet. You have experience shooting in advertising, the first roles in the movie, Project Polunin. You started talking about your own foundation, which would support talented children. That you have to focus on several projects at the same time, fill you or, conversely, devastate?

– “Do more – more power. Your body produces as much energy as you need. If you do 50 things per day, you will be given energy for 50 things. If you do one – you have exactly that much energy and will allocate. Therefore, the bar should be set high.”

A Fan Reviews Sergei’s Satori

A Fan Reviews Sergei’s Satori

This review appeared on the Official Sergei Fan Club Facebook page.  It was so beautifully written and so specifically detailed that I immediately felt it needed to be a part of this collective.  Upon asking permission, Maria Swardt graciously consented.  Thank you, Maria.

Text:  Maria Swardt
Featured Photo:  Aleksandra Muravyeva

December 13, 2017

PROJECT POLUNIN – SATORI

I have never been an unconditional fan of anyone as I believe change is the only constant. Yet, to my surprise, after being at the London Coliseum on December 9th and 10th I understood the ones who say “I love Polunin, no matter what.”
I flew from Barcelona to London with the only purpose of making a dream come true – I wanted to see Natalia Osipova and Sergei Polunin dancing together. I came back home yesterday feeling as if a lightening had struck me, turned me inside out, upside down. As if what mattered up to December 8th is no longer important. That’s how I feel, exaggerated as it may sound.

Saturday December 9th, Polunin was on stage for seven minutes with his FIRST SOLO, premiered in August in Switzerland. An explosion of strength, passion, precise movement and technique. Beautiful music, poetry and great choreography. The stage was too small for so much talent!

After that, SCRIABINIANA – the bodies of ten dancers, pas de deux, expressed so many feelings, so much beauty! They were excellent, perfect I should say. Their bodies spoke to the audience through every single movement. It was delightful and powerful to watch them. And then came Polunin and Osipova and as they danced, perfection turned into love. They absolutely complemented each other as if their bodies were the last two pieces needed to finish the puzzle. The ultimate beauty!

Last, SATORI – Very interesting, beautiful, clever “mise-en-scène”, if that can be said for ballet, great choreography and direction. It somehow reminded me of Le Cirque Du Soleil, don’t ask me why, and I really enjoyed it. Tree of life, mother, little boy (sweet Tom Waddington), shadows,fears and demons, woman/lover/saviour and the troubled seeker. Although SATORI is a Japanese Buddhist word for Awakening, to me it is a homage, a public love letter to Natalia Osipova. She saves him and shows him the meaning of Love, Forgiveness, Dance and Life. He is grateful, thankful and shows it to her. He has found himself, doesn’t need to seek out any longer. They can both rest, naked, in each other’s arms. This is how I understood it. Lovely performance. Very real too. As usual Osipova was brilliant and perfect! But gosh, what a responsibility to be your lover’s saviour!
Great applause at the end.

I was happy to see quite a few children in the audience. Beauty makes people’s hearts better and it’s a good idea to start at a young age.

Sunday December 10th, several wonderful pas de deux, a solo by a really, really good Cuban dancer, Miguel Altunaga, who got a huge round of applause. After that, “Take me to Church.” That’s when I started crying and haven’t been able to stop since, on and off. Cathartic effect. Very needed I believe! The lady sitting next to me, at the Coliseum, was very kind and handed me a perfumed tissue, very useful indeed!

Last, SATORI, once again.

On Sunday the audience was a lot more enthusiastic and the applause was louder. Lots of children too.

If you have the chance to attend the next performance of PROJECT POLUNIN, SATORI, please don’t miss it. It’s really worth it!

Last but not least: I once read Polunin believed Art belongs to everyone and should be within everybodys reach. Tickets should be much cheaper. Programme booklets should be free. Otherwise he will go on creating and performing for a privileged elite which would contradict the aim of his PROJECT.

To the ones who criticise Polunin, please give the man a break, allow him to be different and do whatever he feels like. He is STILL the best! “If you cannot help, at least do not hurt.” To the ones who are busy looking for a partner for Osipova, because you don’t like her being with Polunin, please mind your business and let her mind hers.

To the haters, there are a few on this page, please go boil your head! Like the Scots would say, Awa’ an’ bile yer heid!

 

 




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