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Everything Sergei Polunin is Working On, Because We Obviously Need to Know
Sergei Polunin has a penchant for unexpectedly bursting into the news. Since DANCER, a feature-length documentary that proved to be a sympathetic portrait of ballet's favorite bad boy, he's been increasingly visible, popping up everywhere from "So You Think You Can Dance?" to Sadler's Wells. So what's the international star got next on his dance card?
Teaching a Master Class
Some very lucky ballet students will be taking class with Polunin at Danceworks London on July 18. (It's currently sold out, but interested students can add their names to a wait list.) It was announced this spring that Polunin would team up with the studio for a scholarship to its summer dance program, the Sergei Polunin Inspiration Scholarship, which has since been awarded to two young dancers.
A Featured Role in a Major Hollywood Film
Don't expect pirouettes. Murder on the Orient Express is a remake of the classic 1974 film based on the 1934 Agatha Christie murder mystery, here starring the venerable Sir Kenneth Branagh. You can glimpse Polunin looking rather haughty in the above trailer, in which his character is identified as "The Count." He might not be dancing, but it should be pretty amazing to see him acting opposite such a heavy-hitting cast. In theaters this November.
Dancing with Jennifer Lawrence in Another Hollywood Flick
Okay, so do we know for sure that the above post is from rehearsals for Red Sparrow, a new Soviet-era spy thriller starring Jennifer Lawrence? No, but we're fairly sure we're correct—Polunin is definitely attached to the film, Justin Peck is almost definitely choreographing, and since Peck and Isabella Boylston were posting on Instagram about being in Budapest while filming was happening there, it's a safe bet that Boylston is Lawrence's dance double. (Lawrence's character is an ex-ballerina turned spy; we're guessing that Polunin is her partner.) So yes, pirouettes are likely in this one. The release is currently slated for March 2018.
Filming One More Movie, This Time with Ralph Fiennes
Still from DANCER. Photo by British Broadcasting Corporation and Polunin Ltd., Courtesy Sundance Selects.
The White Crow is a dramatization of Rudolf Nureyev's defection to the West that's being directed by Ralph Fiennes. We don't know who Polunin is playing, but he's reportedly expected to begin filming this summer opposite Russian ballet dancer Oleg Ivenko (Nureyev) and French actress Adele Exarchopoulos (Clara Saint).
My dance coach wants my word that I'll keep competing under his school's name for the next year and not audition. I'm 18 years old and already doing lead roles and winning medals. I love his teaching, but shouldn't I be ready to go out and get a job?
—Gil, Las Vegas, NV
How do we make ballet, a traditionally homogeneous art form, relevant to and reflective of an increasingly diverse and globalized era? While established companies are shifting slowly, Richard Siegal/Ballet of Difference, though less than 2 years old, has something of a head start. The guiding force of the company, which is based in Germany, is bringing differences together in the same room and, ultimately, on the same stage.
Before she became the 20th century's most revered ballet pedagogue, Agrippina Vaganova was a frustrated ballerina. "I was not progressing and that was a terrible thing to realize," she wrote in a rough draft of her memoirs.
She retired from the Imperial Ballet stage in 1916, and for the next 30-plus years, devoted herself to creating a "science of ballet." Her new, dynamic teaching method produced stars like Rudolf Nureyev, Alla Osipenko, and Galina Ulanova and later Natalia Makarova and Mikhail Baryshnikov. And her approach continues to influence how we think about ballet training to this day.
But is the ballet class due for an update? Demands and aesthetics have changed. So should the way dancers train change too?
For many dancers, a "warmup" consists of sitting on the floor stretching their legs in various positions. But this strategy only reduces your muscles' ability to work properly—it negatively affects your strength, endurance, balance and speed for up to an hour.
Save your flexibility training for the end of the day. Instead, follow a warmup that will actually help prevent injury and improve your body's performance.
According to the International Association of Dance Medicine and Science, a smart warmup has four parts: "a gentle pulse-raising section, a joint mobilization section, a muscle lengthening section and a strength/balance building section."
Claude Debussy's only completed opera, Pelléas et Mélisande, emphasizes clarity and subtlety over high-flung drama as a deadly love triangle unfolds. Opera Vlaanderen and Royal Ballet of Flanders are commemorating the 100th anniversary of the composer's death with a new production of the landmark opera that is sure to be anything but traditional: Sidi Larbi Cherkaoui and Damien Jalet are choreographing and directing, while boundary-pushing performance artist Marina Abramović collaborates on the design. Antwerp, Feb. 2–13. Ghent, Feb. 23–March 4. operaballet.be/en.
Black History Month offers a time to reflect on the artists who have shaped the dance field as we know it today. But equally important is celebrating the black artists who represent the next generation. These seven up-and-comers are making waves across all kinds of styles and across the country:
When a new director began transforming Atlanta Ballet a couple of years ago, longtime dancer Alessa Rogers decided to finally explore her dream of dancing in Europe. "I always had this wanderlust," she says. She wasn't set on a particular city or company, but thought learning French would be fun. She began her research that September, making note of repertoire and the number of dancers as well as which companies employed foreign, non–European Union dancers. "I saw that Ballet du Rhin was looking for dancers," says Rogers. "They also had a new director coming in, so I thought it could be an opportunity." After sending a video, Rogers traveled during her layoff week to take company class. She was offered a job on the spot.
Uprooting and moving out of the country, far away from your support system, language and customs, is not something to take lightly. While it can push you as an artist and be an exciting opportunity for personal growth, working as a dancer in a foreign country comes with its challenges. Lots of research and an adventurous spirit are required.
Justin Lynch is surprisingly nonchalant about the struggles of being a full-time lawyer and a professional dancer. "All dancers in New York City are experts at juggling multiple endeavors," he says. "What I'm doing is no different from what any other dancer does—it's just that what I'm juggling is different."
While we agree that freelance dancers are pro multitaskers, we don't really buy Lynch's claim that what he does isn't extraordinary. In fact, we're pretty mind-boggled by the career he's built for himself.
At the annual Gala de Danza in Los Cabos, Mexico, the lineup of performers is usually pretty typical gala fare: You can expect celebrity performers like Lil Buck, reality stars like Ballet West's Beckanne Sisk and "So You Think You Can Dance" finalist Tate McRae, plus principals from top companies like New York City Ballet's Tiler Peck and Daniel Ulbricht.
What's absolutely not typical? The venue.
At 5'10" I felt like an ant in the studio with Alonzo King LINES Ballet. The San Francisco-based company is full of statuesque dancers whose passion is infectious. Every story was told not only through their movement, but through the expression on their faces and their connection to one another.
We talked to artistic director Alonzo King about his love of collaborations and why he thinks politicians need to dance more.