Серёжа - ты чудо!!! Смотрю все передачи о тебе. Очень не понравилось интервью с Познером. Бэлза такой добро желательный. Жалко, что рано ушёл. А у Познера доброты нет, но ты, Серёжа, всегда ведёшь себя всегда с достоинством.. Спасибо тебе, что так радуешь своими выступлениями. Какое счастье, что такой есть.

Ekaterina Luzanova Нескольких? А каких? Я кроме убийства в восточном экспрессе никакого не знаю, подскажите пожалуйста

@@user-lm8pi2nv5s фильм Обыкновенная страсть в кинотеатрах с 14 января выходит

Он ваш путенский своевременник. Завтра нефть падает в цене и этот полунин стоит в очереди на американское гражданство.

@@alexl7996 сам небось в Америке сидишь? Диванный критик!!!

Alex L глупец завистливый 🤮🤢

Похоже, без четких нравственных ориентиров, как бы высокопарно это не звучало. Но таких множество среди известных артистов, даже в гораздо зрелом и " мудром" возрасте.

Alex L мудак. Где Полунин, любимец огромной аудитории, и где ты- неизвестная особь, да к тому же- завистливая.

Его отец уехал в Португалию на заработки, а бабушка год работала сиделкой в Греции, чтобы были деньги на его обучение

Da

Как можно назвать его самым лучшем в мире когда есть лучше и преданней посмотрим пусть докажет паяцо

@@user-qy4lk5jt5w её уже ничем не испортить после порося ..а Полунин - человек МИРА!!!!

Лёлики Болики ты больной 🤧 глупый беспардонный в голове тирса ,хотяб послушал и посмотрел Полунин признанный во всем мире ,человек мирового значения

Только восхищение ! Талант,упорство,и конечно, МАМА-- ей низкий поклон!!!!

Он же сказал, что не любит репетиций. От чеговы решили, что он влюблен в балет?

@Ok Ka - а как можно ТАК ТАНЦЕВАТЬ,если нет любви ?) Он же не робот ).

Я конечно люблю и уважаю Станислава Белзу, но именно в этом интервью он не хорош. Сергей на тот момент с некоторым трудом говорил на русском, говорил медленно. Ему надо было просто давать время закончить мысль. Белза же этого не делал, обрывал Сергея на полуслове. Это не профессионально.

@@user-dd1dg7cc8o Нет , Бэлза просто помогал ему, вытягивая интервью.Полунин вообще то очень косноязычен и беседа могла бы быть очень скучной и тягучей.Но танцовщик Полунин ,конечно, бесподобный.

Да Ольга, Бэлза - это культура и эрудиция! Помню все его передачи. Жаль, что его нет с нами!

@@galinamelnikova9855 неправда, Полунин очень неординарный собеседник, всегда интересно с ним.

@@1987Alla Да на здоровье!Ещё одна несчастная,жаждущая неземной любви! Как вы надоели!

🕊

Полунин первый человек, за которого я пошла и поставила свечку в церкви. Как будто какая-то светлая сила потянула...

@@alexl7996 Родился бы ты обратно. Не смей прикасаться к чему не дорос и не достоин.

Карамболь, а не пошёл бы ты на гей-парад Единой Сроссии, а?)

Лена, этот товарищ копеечку отрабатывает Alex

О,да! То же отношение к репетициям у Майе Плисецкой- оба гения балета и бунтари...Два роскошных скорпиона,умудрившихся родиться в один день...!💕

Это правда!Лучший!!!Король танца!

За что?

у Вас словесный понос

@@user-tk8hs8rj4z он обучался а Лондоне благодаря фонду Ну реева

@@akmaralzhussupova6136 Спасибо, не знала.

Hozier

А оно умерло?!

@@alexl7996 даже не понимаешь о ком речь и нос свой суёшь!

Interview with Sergei Polunin, 2012 Host: Today the guest of our program is the triumphant winner of the Bolshoi Ballet contest Sergei Polunin. How do you feel being a winner? Sergei Polunin: It is very pleasant. H: You have already had a lot of victories in your life. Among them are Prix de Losanne, Youth America Grand Prix Ballet, Serge Lifar Contest in Kiev. You were called the most perspective dancer in Britain and the best classical dancer. SP: It is true. But my goal in participating in the Bolshoi Ballet project was not a victory. I had different aims: I wanted to get acquainted with a wider audience. H: To get acquainted with the wider audience to present yourself to the audience. Before the contest you were not well known in Russia. You were popular abroad, mainly in the UK. SP: With one TV project I got the same effect as with hundreds of ballets in the UK during 5 years. H: Indeed, the start of your career was fabulous. You were loved by the audience and the critics who (the critics) are rather hard to please. You even got a special award of the critics. SP: it is true. I didn’t understand what they loved me for. H: You just danced. SP: Yes, I just danced and actually there had never been bad critics. H: You were born in Kherson, in Ukraine, and didn’t think about ballet first. You considered a career in sports and wanted to become an Olympic champion. SP: Yes, it was one of the best (gymnastics) schools in Ukraine and it was in the center of community life. Boys of the town wanted to do gymnastics, not football or arts. I went to this school at the age of four. H: You were quite small. Your childhood ended rather early. SP: Yes, early. I remember regretting it from the very beginning. H: But gymnastics also requires constant training. SP: There is even more about it. After gymnastics classes ballet seemed easy to me. H: You know modern ballet well. There is a lot of gymnastics in it. SP: Yes, of course. My gymnastics skills help me to coordinate my movements in the air: I always know where I am. Gymnastics was an excellent start for ballet. H: Was shifting to ballet your parents’ decision or did you feel interest for dancing? SP: It happened because of my disease. I didn’t attend gymnastics classes for about four months. Other boys began outworking me, so my ambitions didn’t allow me to stay there. Before that I had always been a leader, had been at the podium all the time as there were competitions almost every week. When I returned after the illness I saw that the boys who had been worse in the past began getting better grades. I thought it was necessary to take something different. H: So, you are used to being on a podium. SP: Yes, from an early age, since I was four. H: Wonderful. Then followed the Choreography School in Kiev… SP: Yes, after a small dancing club in Kherson where I was taught improvisation. I think it is also very important. I starting with improvisations, I wasn’t told to perform some certain movements, I created them myself. It helped me together with my good physical fitness to enter the Choreography School in Kiev. H: Then somebody sent a recording of your dancing to London… SP: And I was invited for an interview. H: Then you got Nureev foundation scholarship. SP: This scholarship is awarded to a child who has a potential of becoming a principal in the future. There is one such scholarship for the former USSR states that covers tuition fees.

H: I have always wondered how experienced dance teachers see a potential of principals in little children. SP: I was surprised by it too. From the first grade I was told I would make a good dancer. H: Besides good physical shape is not the only criterion in this respect. SP: I suppose it is also about something inside you, about your charisma. H: Then was Royal School of Ballet, Covent Garden. You graduate at the age of 17 and are immediately admitted to the company and at 19 you become the youngest ROH principal ever. Was it also due to the desire to be always at the podium, better on top of it? SP: Yes, but I wanted to get to principal even one year earlier. I was disappointed when it didn’t happen. Becoming a principal was extremely pleasing. At the same time when you achieve your goal you feel some emptiness, some dissatisfaction with what you have been longing for. H: Then you need to set a new goal. SP: I didn’t have any new goal then. From the childhood I have been telling myself: ‘I want to be a principal’. As athletes are thriving to become Olympic champions, I had a desire to become a principal. But when I became one I understood there was a long way ahead, actually a way to nowhere. H: You have performed all the possible princes starting from the Nutcracker to Desire and a prince in Cinderella. But, as it is common in the western ballet now, including ROH, you also danced in modern choreography pieces. There were performances of McMillan, Natalia Makarova, Ashton. What suits you more: classical ballet like Giselle or something modern? SP: Giselle is one of my favorite ballets, I can’t say anything about it. But I am more inclined to modern dancing, something more masculine with more free movements. H: Is it due to your education? SP: No, it is something I feel. I have known from my early years that I like it. Most of the ballet videos I watched in the childhood were performances by Vladimir Vassilyev. It was my type of dancing. H: Critics in the West used to compare you with Nureyev and Baryshnikov. They promoted male dace to a new level. SP: Yes, before Nureyev dancer only walked on the stage. H: And were used only for caring ballerinas. SP: I understood why Nureyev was a genius only about three years ago. Probably when I was young I didn’t realize what charisma was. I just observed the movements. Nureyev’s technic wasn’t always perfect, his style of dancing was more feminine like. I tended to Vassilyev’s style. H: It could be felt in La Sylphide for example. SP: Yes, in La Sylphide, in the Swan Lake, in everything. He actually borrowed female style movements. H: Perhaps from Margot Fonteyn. I had a pleasure to meet Nureyev and film an interview with him. You mentioned his charisma. It definitely existed and it was dazzling at face to face contacts and of course from the stage. I believe such personalities are indeed important for art. SP: As Michael Jordan in basketball who gave it a great push. H: And Beckham in football. I think it will be pleasant for my friend Vladimir Vassilyev to know that you took him as an example. Are you acquainted with him? SP: At 14 I won Ulanova Prix and danced at the Bolshoi. Vassilyev choreographed a short performance there in which I took part. It was the only time I met him. H: I can’t avoid the issue of your leaving Covent Garden at the rise of your career.Was it a spontaneous decision due to fatigue or a well-considered one? SP: I had some ideas of dancing for three more years and then go on in some other way, to travel in other countries. I myself don’t know what happened on that day. On reflection I can say many factors were together.

H: Position of the stars perhaps… SP: I woke up, everything was ok, went to work. But in three hours I quit, I was without a job and the right to stay in the country. H: And it was voluntary. SP: It is true. It was a strange, scary decision which I myself couldn’t perceive. H: It really astounded a lot of people at that time. I read in your interviews that you didn’t like rehearsals. SP: Yes, it is so. I don’t like physical labor, I like to achieve my goals and to perform in front of the audience. H: But it is impossible to become a principal lying on a sofa and thinking about your character on the stage. SP: Of course not. For me rehearsals are boring. H: A torture? SP: Yes, a torture. I always want a rehearsal to finish as soon as possible to get closer to the performance. H: It is possible to make a comparison with musicians, pianists or violin players. Some of them need to practice a lot, day after day, week after week. Others master everything much quicker. The same is with ballet dancers. But any way one must practice with a ballet bar every day. SP: Yes, it is true. Unfortunately, I didn’t do it regularly. H: How then did you manage to become so successful? SP: I worked a lot at school and also my innate inborn abilities. I have been in a good physical shape since I was 4. I was the last to leave the school, used to watch videos and rehearse. As a result I don’t need to rehearse something, I am sure I can do it. I don’t need to do it every day. H: Was the Stanislavsky Theatre your choice or were you invited there? You a valuable dancer form the company. SP: It happened thanks to Igor Zelensky, the artistic director. He offered me support and I believed in him. I didn’t hear anything about the Stanislavsky Theatre in England. H: They have a top-class ballet company. SP: Now I know this and it is a great pleasure to dance together. I was a bit afraid of Russia when in London. I don’t know why, perhaps due to propaganda in movies and on television. I was gassed when I came here. Art is developing here and it is great to move forward on this wave. H: As for classical ballet, one can say that Russia is a keeper of these traditions. SP: it was hard for me to get adjusted to London, to their traditions because I had been trained according to the Russian traditions. I thought it the only right way of dancing and it was difficult to get used to the styles of McMillan or Ashton. Russian style is my native, basic style. H: I suppose that having mastered classical ballet it is much easier to learn contemporary dancing. SP: It is so, though I believe that so people should dance classical ballet and some other - contemporary, and do it on a high level. H: Because of different ballet styles? SP: Yes, I suppose so. H: There are some dancer who can combine both. For example, Diana Vyshneva, the head of our jury. She is just incredible. There are universal soldiers, in the same manner Diana is a universal dancer. SP: I agree, sometimes it is possible. There some rare people who are able to do it but it requires special education. It is a long-lasting process. H: Concerning the desire to be a leader, does ballet develop a kind of narcissism? SP: I think so. Everybody loves themselves in ballet. You should never display it explicitly but you must always know your value. I would even suggest to think that you are the best and try to achieve it.

H: It is good when a person is able to achieve something. At the same time it can turn into a tragedy when a person thinks so and can’t perform a good pirouette. SP: Yes, it is a tragedy. Nevertheless, if this person thinks he or she is the best, it will definitely help him or her. H: Was it easy or difficult for you to get adjusted to the life in London? SP: London was like a fairy-tale for me. Everything there is made with such an excellent taste, nice looking beds. I used to live in an apartment block before. In London I got to the White Lounge situated in a park with deer and green parrots. I felt as if I were Harry Potter who moved to a castle from his small house. It was very interesting for me and helped me not to think about my past but to absorb everything that was new and interesting. H: How did your classmates meet you? Did you know the language? SP: I didn’t know the language at all and had to learn it. It was not easy during the first year. At the same time, I didn’t understand a lot and in some way it was easier. For example, I didn’t understand what I was told and I used to work on my own. Everything was nice there, tasty food, control over the students. Everybody had to go to bed in time. H: Did you notice any differences between the systems of ballet education, the one used in Kiev which is based on Soviet and Russian traditions and the British school of ballet? SP: The main difference is that children are not forced to do anything. You do if you want, if you don’t you don’t work. You just won’t be looked at and won’t be made to work. H: But then there will be no result. SP: Only those who wanted something a lot and work hard can achieve good results. Of course it is difficult it at a young age. I knew what I wanted and was afraid of being expelled if I was not the best, and it helped me. I think it is more difficult for children to study there because, for example, they can’t even be touched. That is why sometimes when Russian children come to British schools they get worse grades because they are not forced to study. In Kiev I was explained every detail and it was shown on me. In London I had only three mistakes a year, almost no corrections. Thanks god I had had those four years before London in the Kiev school, so I knew what to do and how to do it. Children were not even told to be in the fifth position. They couls stand the way they wanted to. H: At the same time now you sound as an advocate of discipline in education. SP: Discipline in education but not discipline in everything. H: I was surprised by your desire to be free. You can’t get free from your profession, from its demands. SP: I always envied boys who were free to play football. Even children in opera are more animated. When you look at them you can see them running, throwing something at each other. When ballet children walk along a corridor they always walk silently. H: Ballet indeed demands certain sacrifices. SP: And also army style discipline. H: The situation is like this all over the world. SP: it is true though I would advise to emancipate children because they are locked into certain patterns when they come to theatres. H: Everybody was surprised by your refusing a principal position in Covent Garden at such an early age. We all know about the tragic side of ballet, that is short carriers of ballet dancers. It was too early for you to think what you would do after 40. SP: I had a globus at home. When I looked at it I thought about the places where I had not been to. Actually, I stayed and danced at one place but the world is huge. I wished to see the world, to see different places, to learn about various traditions.

H: But the company toured, didn’t it? SP: It did, but only once a year. Most of the time I was at one place. When I was invited to the Mariinsky Theater, to the US, to dance in the Swan Lake when I was quite young. But my schedule was organized in such a way that I wasn’t able to go anywhere. They didn’t want to let me travel. Probably I couldn’t stand it anymore. H: Most of journalists treat it as something funny though it must be serious for you. You together with our friend opened a tattoo salon in London and covered your beautiful body with tattoos. SP: I think everybody has such periods at a young age. H: Was it a prank for you? SP: Yes, I didn’t follow any serious ideas with my tattoos. Tattoos are rare in ballet. I always like to do something unusual, to get away from the mainstream. H: You succeeded in it and got attention of the mass media worldwide. I suppose you Mom didn’t approve of them. SP: Of course, she didn’t. She wants me to get rid of them with the help of a laser. H: Have you got any other hobbies in addition to ballet and music? Perhaps books, hunting or fishing? SP: Now I work on it so much that there is no time for anything else. All I can is to come home and go to bed. I don’t even have time to find my life partner. No time to go to the cinema for example. H: You will find a partner. I know you broke up with your girl-friend. SP: I did and now she has become a principal. H: Was she against your tattoos? SP: Probably she was. H: You have not but once talked about your wish to try yourself in movies as Baryshnikov and Nureev did. SP: I have always enjoyed movies, I am enchanted by them. In ballet I use gestures that I see in films. It is one of the arts which is very interesting for me. H: It would be nice to perform the role of dome ballet genius, for example Nureev. SP: A week after I left ROH Ralph Fiennes approached me saying he had the idea to make a movie about Nureev. He comes to Moscow soon. H: His sister is a director. SP: And he is already a producer. His teacher Joan Washington watches my rehearsals and said I would be good in a film. And thought about ballet went to the background. But it is risky. You need to choose only one form of art and be perfect in it. When I came to Russia I felt I missed the stage a lot, I missed the adrenaline of performances. Joan Washington told me there was no such adrenaline in movies. H: You get adrenaline when you get an Oscar. SP: Or your salary. In theater I can communicate with the audience. It made me think a little and Igor Zelensky showed me how to get adrenaline from ballet, art, communication with the audience. I persuaded producers to make a documentary about me as a dancer and not to perform the role of the dancer who is unfortunately not with us any more. H: You can try both options. SP: Yes, it is possible. I think it is possible to shoot something interesting about dancing. H: Please tell me, do you regret your leaving ROH? SP: Little by little I start thinking of what I could have done there. But I am going there as a guest dancer. I didn’t close anything for myself, just the opposite, I opened the world. H: Do you agree to accept what your life offers you? SP: Yes, of course. If I find some interesting option tomorrow I’ll just pack my suitcase and go. I am not attached to some particular place. I believe in destiny, in something new, interesting and bright.

дура

Зачем ему образ Нуриева, у него свой стиль, современный, шикарный

кАК Вы угадали что критикует ???!!! В одном из интервью он не сказал что ему не нравится а сказал : Моим ученикам не нравится !! Я уж не говорю с каким видом это было сказано!!!

@@larisaavdeev1273 не сочиняйте. Он сказал не так...его слова "детям он не интересен"

Цискаридзе достиг заоблачных высот и продолжает работать. Хвалит тех, кто заслуживает этого. Не Вам, селянке, обсуждать аргументированное мнение профессионала

@@MB-sg8xq Цискаридзе обожает себя бесконечно и ведет себя как барин, унижая своих учеников. Вы ему под стать, презрительно отзываясь о собеседнике.

@@MB-sg8xq Аргументированное САМОмнение!

Как и любое государство.

☝️and there are ..

Лидия Корнилова а танцует без завязочек с голым торсом и получает 2000000 лайков и признания и любовь зрителей

Лидочка, это не Ваши проблемы. 😊

А какая зависимость? Наркотики?

ИЗБАВИЛСЯ

Lena l конечно избавился

Не было у него зависимости. Это был эпатаж. Сергей троллил медиа, которые ополчились на него.

это Мариот-Москва у Пассажа. Внизу двумя этажами ниже ресторан открытый

Это гостиница(5*), внизу ресторан.

Andriy Kucherenko неудачный столик выбрали, кухня рядом

He speaks russian without ukranian accent....but I couldn't say that his russian language is perferc/typical (he had been living many years outside of russian speaking language)

Алла Смирнова so would you sai it's his first language even he was boern in Ukraine?... what a man..

He was born in russian speaking part of Ukraine. I admit he doesn't know Ukrainian language at all.

Алла Смирнова I'm brazilian, but I was believing the same, just want some russian/ukranian to confirm, Tks, dear.

You are welcome)

For me too. For all the segments. But such a pleasure to watch him dance, fortunately that requires no translation!

везде

К кажется в Москве

Ему есть за что себя любить... Но вот он как раз весьма скромен (по крайней мере, внешне). Видела его вживую - аристократ без всяких усилий.

Любителей красиво говорить ,но при этом ни чего не уметь,у нас предостаточно.Полунин очень талантлив.Исполнение завораживает.И почему он не должен лидировать на сцене, пусть тянутся за ним.Сергей,я ваша поклонница.

Его тело говорит в танце. Уникальный танцовщик

Ну конечно он плохо образован, откуда взяться образованию во всех тех образовательных учреждениях, в которых он учился. Сарказм.

Достигаторство - это не про Полунина. Он всегда забивал на репетиции, как таковое совершенство в балете его не интересовало. Другой вопрос, что он сам танец. Природная гениальность.

I really enjoy Roberto Bolle, he has so much stage presence, but Segei is incredible. I saw him dance as a graduation student, and he was a unique talent then. Pity he wasn't better handled by the Royal Ballet, so much pressure. Very hard to be separated from your family for so many years. He is the shining male talent of his era.

Он гениальный танцовщик,его язык-язык тела,балета!

Человек с 12-лет жил в Лондоне.

Сергей говорит на английском свободно, и это главное. Акцент желателен, но не обязателен.

А вы умеете так танцевать?Долгое время он прожил в Англии и русский подзабыл.

Yuliya Kraytman Юлия, критикуя чей-то акцент вы всего лишь демонстрируете всем, что никогда не находились в мультикультурной среде. Никому дела нет до того, насколько «ужасно» звучит акцент человека, если его прекрасно понимают, и, разумеется, если ценят за профессиональные и человеческие качества. Во многих случаях акцент простителен даже звездам кино (послушайте, например, Пенелопу Крус)

Покидают Украину таланты, нет возможности развиваться. Жаль!

При чем здесь «зрадник», зрадник с трезубцем на руке

Хахаха

Человек жил с 13 лет в англоязычной среде, неужели Вы настолько идеальны в манере общения?!