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Sergei Polunin - news and discussions - cont'd

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Sigh...”...ain’t no thing as bad publicity...” or however that old adage goes..

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Another day, another interview:

 

https://translate.googleusercontent.com/translate_c?depth=1&hl=en&prev=search&rurl=translate.google.com&sl=ru&sp=nmt4&u=https://inosmi.ru/culture/20190204/244501613.html&xid=17259,15700002,15700021,15700186,15700190,15700248&usg=ALkJrhiWstM4C9gUqub9WXyThkng-gdTNw

 

 

This is a link via a Russian site as the original article is behind a paywall. If you cut and paste the long link into your browser you should hopefully have access to the interview in English. 

Edited by BeauxArts
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Heavens - he’s seriously messed up!

 

(...I wanted to use the f word but wasn’t sure...)

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50 minutes ago, Vanartus said:

Heavens - he’s seriously messed up!

 

(...I wanted to use the f word but wasn’t sure...)

I am glad you didn’t because your post would have been hidden immediately!  😱

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As he's back on Instagram some new, very disturbing messages were posted last week and some comments questioned whether he had joined a sect. 

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7 hours ago, Sim said:

I am glad you didn’t because your post would have been hidden immediately!  😱

 

In this case I think the appropriateness of

the usage would have been unquestionable. Whooooooeeeeeeee.

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49 minutes ago, Colman said:

 

In this case I think the appropriateness of

the usage would have been unquestionable. Whooooooeeeeeeee.

Maybe so, but no swearing 🤬 is allowed on the forum!  

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43 minutes ago, capybara said:

...............and he's looking so old now, as well.

Yes he is.  Such a shame what he has done to himself.  

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Damn - I was rather looking forward to seeing the leather harness jiggle dance again!!!

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11 minutes ago, penelopesimpson said:

I don’t get this.  What is Kobborg saying?

 

It’s an ad for Kobborg’s Romeo & Juliet with Polunin & Cojocaru in Verona.

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If you tap/double click on the picture it will take you to the Twitter post that shows the whole photo with details.  

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Doesn't show any details when I click on it :( 

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3 hours ago, penelopesimpson said:

Would love to go but Verona inhigh summer _ and will Polunin turn up?

The million dollar question....but I glean from social media that they are friends so maybe that’s added incentive.  

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Anyone know his programme and personnel for the Palladium gig?  It happens before Verona. 

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International ballet stars Sergei Polunin and Johan Kobborg will perform in a new mixed programme at the London Palladium from 28 May to 1 June 2019.  The programme on 28, 29 and 30 May will feature three one-act ballets: Fraudulent SmileParadox and Sacré. The programme on 31 May and 1 June will feature the world premiere of Rasputin, with a final ballet to be announced at a later date.

Fraudulent Smile is choreographed by Ross Freddie Ray to music by KROKE and will star Sergei Polunin and Johan Kobborg, with further casting to be announced.

Paradox and Sacré have both been choreographed by Japanese dancer and choreographer Yuka Oishi. Paradox is performed to music by Stravinsky (Soldier’s Tale) and Chopin and will star Stanislavsky and Nemirovich-Danchenko Moscow Music Theatre first soloist Alexey Lyubimov and Belgrade National Theatre first soloist Dejan Kolarov. Sacré is a piece of tanztheater set to Stravinsky’s iconic The Rite of Spring. It is a solo piece starring Sergei Polunin. Both Paradox and Sacré explore aspects of the life of famous dancer Vaslav Nijinsky in his 130th birthday year, with Sacré reinterpreting his infamous ballet Le Sacre du Printemps, originally created for Ballets Russes in 1913. The ballets are  inspired by Nijinsky’s demand for a “feeling, not thinking Human”, by master pieces of the Art Brut – the movement of the outsider art, by the essence of rebellion.

The world premiere of Rasputin is also choreographed by Yuka Oishi, with a new score by Russia’s most prominent representative of the neoclassical music scene, Kirill Richter, set design by Otto Bubenicek. The title role will be performed by Sergei Polunin, the rest of the cast will be announced at a later date. Rasputin explores the life of the Russian mystic and self-proclaimed holy man who befriended the family of Tsar Nicholas II.

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Hmmm....lots of stuff by Yuka Oishi.  A friend of mine recently saw Natalia Osipova in a piece of Oishi's called Ave Maria (in New York).  In the programme notes, Oishi said "Despite the music, this is not a religious piece".  However,  Osipova was in a long white dress, apparently doing choreography with religious connotations.  Not sure how you can have a hymn of praise to the Holy Mother, name the piece after it, and it NOT be perceived as religious...but as I didn't see it myself, I can't comment.

 

I won't be going to the Palladium, but will look forward to hearing from those who do.  

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1 hour ago, Sim said:

Hmmm....lots of stuff by Yuka Oishi.  A friend of mine recently saw Natalia Osipova in a piece of Oishi's called Ave Maria (in New York).  In the programme notes, Oishi said "Despite the music, this is not a religious piece".  However,  Osipova was in a long white dress, apparently doing choreography with religious connotations.  Not sure how you can have a hymn of praise to the Holy Mother, name the piece after it, and it NOT be perceived as religious...but as I didn't see it myself, I can't comment.

 

I wouldn't have remembered the choreographer's name, but Osipova performed Ave Maria at SW last year. I had the same reaction as you, Sim; and even if the piece wasn't intended to be religious, I would be unable to listen to such music and ignore the religious connotations/source. I'm also not sure why you would be inspired to use such music if you didn't want to reference its meaning. (The work wasn't great anyway, which sort of added insult to injury.) (I accept that it's possible to make a work that isn't specifically religious to religious music; but I don't think you can - or understand why you would - effectively disavow the music. e.g. MacMillan's Gloria, which isn't specifically religious but nevertheless reflects on the music in such a way that it produces a work of real profundity and illumination, in respect of both the specific themes of the work and the religious nature of the music.) 

 

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On 16/04/2019 at 12:38, bangorballetboy said:

Paradox and Sacré have both been choreographed by Japanese dancer and choreographer Yuka Oishi. 

Sacré is a piece of tanztheater set to Stravinsky’s iconic The Rite of Spring. It is a solo piece starring Sergei Polunin. Both Paradox and Sacré explore aspects of the life of famous dancer Vaslav Nijinsky in his 130th birthday year, with Sacré reinterpreting his infamous ballet Le Sacre du Printemps, originally created for Ballets Russes in 1913. The ballets are  inspired by Nijinsky’s demand for a “feeling, not thinking Human”, by master pieces of the Art Brut – the movement of the outsider art, by the essence of rebellion.

 

 

Yuka Oishi's "Sacré" will also be on the programm at Bavarian State Ballet in Munich for three performances in the triple bill "À Jour - Contemporary Choreographies".

 

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The official site of the London Palladium confirmed that there will be 2 different programmes on 28-30 May and 31 May-1 June.
The programme for 28-30 May will include three one-act ballets: Fraudulent Smile, Paradox,  and Sacré. 
On 31 May and 1 June, the programme will present the world premiere of Rasputin, alongside a final ballet which is yet to be announced. 
https://www.officialtheatre.com/london-palladium/sergei-polunin/

 

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On 16/04/2019 at 06:26, penelopesimpson said:

Would love to go but Verona inhigh summer _ and will Polunin turn up?

 

I am a bit nervous of posting this here as the general consensus seems to be negative re Sergei, but here goes.....

 

I think you’ll find this Romeo & Juliet is a Polunin-Kobborg classical collaboration commissioned by Sergei and is possibly the most exciting thing they are creating together.  The Arena di Verona is fabulous enough, as is Prokofiev’s R&J.  And then this is R&J in Verona the setting of Shakespeare's story, and, starring Alina Cojocaru too.  I think Sergei is the only principal dancer that is regularly commissioning works before age 30.  

 

The question about ‘not turning up’ applies only to the collaboration with Peter Schauffuss from the early days of leaving the RB, which he left, along with Igor Zelensky.  

 

He never once missed a performance while employed at the RB.  That’s a pretty big statement of commitment.  

 

There was the possibility of performing M&A at RB with Osipova in 2017.  Has anyone involved revealed why those performances didn’t go ahead?  I’d love to know. It wasn’t long after their personal relationship had broken up.  So that’s a possible explanation.  Or the RB’s own inflexibility. (Osipova herself suffered recently as had to let down Russian fans by not performing Don Q there because the RB wouldn’t release her - despite being booked months in advance.  Something odd going on KoH?).  Those are the only 2 occasions of Sergei not turning up, that I am aware of.  Happy to be corrected.

 

It would be good if the British could understand how a rigid classical company can (and did) limit the artistic development of those dancers who need more.  Have we noticed how the ballet world has opened up so much more in the last 10 years - many principals and soloists (and Corps de ballet for that matter) now perform elsewhere and get involved in other projects.  It’s a new world for dancers - partially prompted by Sergei’s own move - and so much richer artistically for all - dancers and audiences alike.

 

Since 2012, Sergei has had a brilliant classical career at the Stanislavsky and in Munich, increasingly alongside his own projects.  If you research his shows this year alone, you’ll discover a very hardworking artist performing day-after-day to sold-out audiences all over Europe, including Russia, Germany and Italy.  And that’s not to mention the many movies, interviews, modelling etc on top of his own foundation fund for young dancers (a la the Nureyev Foundation)

 

Londoners and Brits are at risk of missing something here.  I highly recommend you get yourselves to the London Palladium to both shows and also to Verona if you can, and to form your own opinions of the current Sergei.  He’ll be performing at the Gillian Lynne Tribute too, in between performances in Munich.

 

I hope you’ll be swayed.

 

 

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Ironically it sometimes seems that Polunin's career resembles Nureyev's, but in reverse geographically.  Stifled by the rigidity of a traditional institution,  to find more opportunities and personal fulfillment, the only option was to jump ship - somewhat spectacularly!

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