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Sergei Polunin - news and discussions - cont'd

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Sorry I was on holiday at that time so I haven’t seen this before.  

 

Maybe one of the other mods can explain.  

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2 hours ago, penelopesimpson said:

Oh Fiona.  Why chicken out now?  Do you honestly think there is anyone on this forum who would not be delighted to hear that Sergei was, once again, the exciting, accomplished dancer we all remember?

 

I don't think anyone has shown you antagonism.  Personally, I've praised the way you show Mr Polunin such unconditional loyalty - even though I believe that unadulterated hero worship is bad for any serious artiste.  I wonder if you are not prepared to submit a review because, as a ballet person, you know just how bad things are?  Go on, be brave!

 

The reviews speak for themselves and I suspect, given the numbers of empty seats, Sergei is losing support.  Yes, he may stagger on for a few more years yet, but the bad boy thing is merely tedious now and his loose connection with ballet and faltering technique may signal the end.  

It is precisely this kind of response that has alienated me (and others).  

 

Just one thing to clarify the mis-information stated here - the auditorium was almost full yesterday - all 3 levels.  

Edited by FionaE
Typo
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2 hours ago, maryrosesatonapin said:

At least your post hasn't been deleted, FionaE, as mine seems to have been.... 

Really?  What did you say?!

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7 minutes ago, FionaE said:

It is precisely this kind of response that has alienated me (and others).  

 

Just one thing to clarify the mis-information stayed here - the auditorium was almost full yesterday - all 3 levels.  

Perhaps you would care to explain what I can possibly have said that has 'alienated' you?

 

And yes, I'm glad it sold well.  And if people enjoyed it, even better.

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Although I don't really care for Sergei or this thread, I will say that I think what Fiona is referring to is the condescending attitude that quite a few persons in this thread have expressed towards her -- although perhaps it was unintentional.   

Edited by HappyTurk
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1 hour ago, Anna C said:

Perhaps we could get back on topic? 

Ha, I don't even know what the topic is about anymore. 😂

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Heartfelt thanks to the supportive commentators here and in my personal messages.  Without those I wouldn’t be bothering to write.

 

I don’t think many on this forum HAVE ANY IDEA what Sergei is achieving with his current dance programmes.  You do have to change yourself and your perceptions, before you can be open to understanding what he is doing.   If you are looking for the pure classical ballet of his years at RB or Stanislavsky then you will not get that.  Don’t come expecting it.  It’s dance based on ballet technique.  

 

As an aside, are you aware of his many years of classical ballet brilliance at the Stanislavsky?  From what I read on here I doubt it.  IMO many of those performances were far more perfect than his younger days at RB.  I recommend you watch the many clips on YouTube of him in Don Q, Coppelia, Giselle, Swan Lake, Nutcracker, La Bayadere at the Stanislavsky or guesting with the Bolshoi and La Scala.

 

Back to this week at the Palladium.  You’ll be pleased to hear it was another near full house, and, standing ovation tonight (Thursday).  I’ve noticed principals and dancers from ENB and RB attendees at the shows I’ve seen so far.  

 

NO ONE ELSE gives the audience the emotional experience that he can and does.  He is also an incredibly hardworking dancer - 6 performances in 5 consecutive days where he is carrying the entire show.  And this format has been repeated in Prague, Moscow and elsewhere.  Even principals in your usual classical ballets (can’t?) don’t do that.

 

It’s my view that he may well be the misunderstood mentally fragile case aka Nijinsky or Yuri Soloviev of our times. (Google Soloviev if you haven’t heard of him).  In which case I want to make sure that I see and experience everything he does before he implodes.  And if not, then I look forward to many years of fascinating performances feeding my soul, making me think and marvel.

 

He does have a very supportive group of friends and colleagues around him now.  He is commissioning very interesting works with all sorts of creative people.  I am hopeful for his future.

 

He is a wonderfully caring man for any woman - you can see how he supports his dancing partners with a lightness of touch.  Use slow motion - you’ll see.  And oh my word he expresses himself through THE most beautiful hand movements ever in dance.  

 

You can choose to believe he is homophobic from some of his Instagram comments.  If so, you haven’t read them properly.  He was talking about male and female energy, and used Elton John as an example of male energy on stage.  There are earlier comments he has made which were supportive of LGBT people and which some have chosen to ignore.   Just one question to consider - if he were truly homophobic how could he have collaborated on projects with gay people and have gay friends.

 

It is not morally ok to label someone immoral just because you have different beliefs, or don’t like tattoos, or their choice of tattoos.  Many young people in the UK now have tattoos.  It’s a fashion.  And they are often chosen to provoke - it’s the ‘up yours’ culture.

 

I don’t even notice the tattoos when he dances  (in Sacre he wears a jacket and a T-shirt so there’s not much to see).   I’m focused on the artistry, the emotion, the use of the body and of course the technique.  He fills the stage and auditorium with his portrayal.  It’s unexplainable.  You either get it or you don’t.  

 

Oh, and his technique is still fabulous - the jumps, the turns, the soft landings, the perfect 5th positions - and oh the height of the jumps.  It’s the combination of ALL these things that make him so wonderful to experience. 

 

So excited for the Rasputin premiere tomorrow.  

 

 

 

 

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6 hours ago, FionaE said:

Heartfelt thanks to the supportive commentators here and in my personal messages.  Without those I wouldn’t be bothering to write.

 

I don’t think many on this forum HAVE ANY IDEA what Sergei is achieving with his current dance programmes.  You do have to change yourself and your perceptions, before you can be open to understanding what he is doing.   If you are looking for the pure classical ballet of his years at RB or Stanislavsky then you will not get that.  Don’t come expecting it.  It’s dance based on ballet technique.  

 

As an aside, are you aware of his many years of classical ballet brilliance at the Stanislavsky?  From what I read on here I doubt it.  IMO many of those performances were far more perfect than his younger days at RB.  I recommend you watch the many clips on YouTube of him in Don Q, Coppelia, Giselle, Swan Lake, Nutcracker, La Bayadere at the Stanislavsky or guesting with the Bolshoi and La Scala.

 

Back to this week at the Palladium.  You’ll be pleased to hear it was another near full house, and, standing ovation tonight (Thursday).  I’ve noticed principals and dancers from ENB and RB attendees at the shows I’ve seen so far.  

 

NO ONE ELSE gives the audience the emotional experience that he can and does.  He is also an incredibly hardworking dancer - 6 performances in 5 consecutive days where he is carrying the entire show.  And this format has been repeated in Prague, Moscow and elsewhere.  Even principals in your usual classical ballets (can’t?) don’t do that.

 

It’s my view that he may well be the misunderstood mentally fragile case aka Nijinsky or Yuri Soloviev of our times. (Google Soloviev if you haven’t heard of him).  In which case I want to make sure that I see and experience everything he does before he implodes.  And if not, then I look forward to many years of fascinating performances feeding my soul, making me think and marvel.

 

He does have a very supportive group of friends and colleagues around him now.  He is commissioning very interesting works with all sorts of creative people.  I am hopeful for his future.

 

He is a wonderfully caring man for any woman - you can see how he supports his dancing partners with a lightness of touch.  Use slow motion - you’ll see.  And oh my word he expresses himself through THE most beautiful hand movements ever in dance.  

 

You can choose to believe he is homophobic from some of his Instagram comments.  If so, you haven’t read them properly.  He was talking about male and female energy, and used Elton John as an example of male energy on stage.  There are earlier comments he has made which were supportive of LGBT people and which some have chosen to ignore.   Just one question to consider - if he were truly homophobic how could he have collaborated on projects with gay people and have gay friends.

 

It is not morally ok to label someone immoral just because you have different beliefs, or don’t like tattoos, or their choice of tattoos.  Many young people in the UK now have tattoos.  It’s a fashion.  And they are often chosen to provoke - it’s the ‘up yours’ culture.

 

I don’t even notice the tattoos when he dances  (in Sacre he wears a jacket and a T-shirt so there’s not much to see).   I’m focused on the artistry, the emotion, the use of the body and of course the technique.  He fills the stage and auditorium with his portrayal.  It’s unexplainable.  You either get it or you don’t.  

 

Oh, and his technique is still fabulous - the jumps, the turns, the soft landings, the perfect 5th positions - and oh the height of the jumps.  It’s the combination of ALL these things that make him so wonderful to experience. 

 

So excited for the Rasputin premiere tomorrow.  

 

 

 

 

 

I think the majority of people who post on here regularly are very well aware of Sergei's many years at the Stanislavsky. Like myself, I expect many ballet/ dance fans followed him with interest (and the hope that he would achieve success and find contentment) when he left the RB. That interest was only lost through disappointing experiences of watching him as his technique deteriorated. I could not describe much I saw in the Stanislavsky years as classical ballet brilliance. 

 

As for not having any idea what he is achieving with his current dance programmes, and needing to change oneself and ones perceptions to enjoy him, all I can say is that the last programme I saw in which he was involved was naive, excruciatingly boring, and poorly danced. 

 

There are plenty of other dancers who give the audience an emotional experience. 

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Well, hitherto I have focused on Polunin’s dire dance offerings, more concerned with the artiste than the man.  But it is hard to let Fiona’s latest pass.

 

We are back to nothing ever being Sergei’s fault.  If you condemned his homophobia this was, apparently, nothing to do with the fact that he had broadcast his feelings, but simply because ‘you hadn’t read it properly.’  Quite how one can misunderstand his offensive outburst is a mystery but perhaps to be a fan you have to suspend belief and dwell in never-never land.  Similarly, if you agreed with the one-star reviews from dance critics, it’s because you don’t get it.

 

i prefer to live in the real world and I’ve never been good with hero worship so I’ll give up on Polunin.  In any case, I carry too much weight and he might slap me.  

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4 minutes ago, penelopesimpson said:

 In any case, I carry too much weight and he might slap me.  

 

Again you misunderstand him - it was a metaphorical slap reflecting his concern that so many people are overweight. I know I am (!) and have been encouraged to exercise by his comments.  

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Posted (edited)

Probably not intentionally funny, but the Sunday Times magazine has an interview with Polunin.  Badly researched, it is mainly psycho babble and the same old bad boy theme regurgitated.  He is now a father with a Russian figure skater (who sounds similarly weird) and, guess what, he is on a mission to build an alternative system that exists outside of the establishment.  The interviewer presses him for detail, but ‘he just has all these ideas.’  Hmm.

 

Hard to believe he’s  only thirty. I have seen him dance just three times, yet his noise seems to have been around forever.

Edited by penelopesimpson
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I was clearing a load of stuff out yesterday (to prepare for WFH) and I happened upon 2 ROH booklets - you know those lovely 1/4ly ones they used to do and Polunin was on the front and inside cover - he was in his black Rudolph costume and I had both copies signed by him.  I don't think her ever actually danced Rudolph at ROH in the end did he?

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On ‎22‎/‎03‎/‎2020 at 14:53, penelopesimpson said:

Probably not intentionally funny, but the Sunday Times magazine has an interview with Polunin.  Badly researched, it is mainly psycho babble and the same old bad boy theme regurgitated.  He is now a father with a Russian figure skater (who sounds similarly weird) and, guess what, he is on a mission to build an alternative system that exists outside of the establishment.  The interviewer presses him for detail, but ‘he just has all these ideas.’  Hmm.

 

Hard to believe he’s  only thirty. I have seen him dance just three times, yet his noise seems to have been around forever.

What made me laugh is that the person credited with hair and makeup is called Eddy Munster...

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On 22/03/2020 at 17:34, Don Q Fan said:

I was clearing a load of stuff out yesterday (to prepare for WFH) and I happened upon 2 ROH booklets - you know those lovely 1/4ly ones they used to do and Polunin was on the front and inside cover - he was in his black Rudolph costume and I had both copies signed by him.  I don't think her ever actually danced Rudolph at ROH in the end did he?


No Sergei Polunin did not dance Mayerling at RB.  Nor Romeo.  His debut in Romeo was in Verona in August 2019.  
 

Mayerling debut was in Russia at the Stanislavsky Theatre in March 2013

 

https://theartsdesk.com/dance/theartsdesk-moscow-sergei-polunin-triumphs-mayerling

 

 

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