Invite Sergei Polunin to dance with the ballet of the Paris Opera house, it would have made a nice shot. But in 2015, when the “bad boy” of the ballet made its return to the dance in the clip of the song from Hozier, Take me to church , directed by David La Chapelle, by his own admission, Sergei Polunin signed his new devotion to the art that he had wanted to flee.
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“Here’s a suggestion: giflons big when we see them, this will encourage them to lose fat”
today, the invitation is more questionable. On the one hand because the star men of the Paris Opera are brilliant: between Germain Louvet, Hugo Marchand and Mathias Heymann, the bar is set very high. In addition, even if Sergei Polunin has more or less recovered his means, if he has danced with the Bolshoi as a partner of Svetlana Zakharova, the dancer Ukrainian plays the provocative. Others have done it. Nureyev in head that interrupts shows in the middle, or refused to let we raise the curtain. The difference is that the provocations published on the account Instagram of Sergei Polunin, are frankly foul. “Here’s a suggestion: giflons big when we see them, this will encourage them to lose fat”, he proposes to one side. And another: “To all the men who do ballet, there are already ballerinas on stage. A man must be a man, and a woman, a woman. This is the reason why you have balls.” We can see that this potential Siegfried does not in lace…
The Paris Opera house rescinds its invitation
His name on the grids of repetition of the swan Lake at the Paris Opera since a month had moved some of the dancers. They had attracted the attention of some unions on the side of unacceptable comments made by Sergei Polunin. On Thursday, the press service of the Opera informed Le Figaro of the coming of Sergei Polunin. Immediately posted on Twitter, the information set fire to the canvas, and the ballet. Then he was expected to repeat with Amandine Albisson these next few days, Aurélie Dupont, director of the ballet of the Opéra national de Paris, and sent, Saturday, at 21h a mail to all the dancers of the company to say that the invitation of Sergei Polunin did more: “I know the talented artist that he is, but I’ve discovered its part of about the public, which shock me and which do not comply with my values nor those of the institution that we represent”.
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It is not yet this winter, Sergei Polunin will walk on a stage in paris. Born in the Ukraine, the boy is enrolled by his mother in dance classes at three years of age. Then he dreams of a career as a footballer, his mother the shore of force at the dance. At age 13, he entered the school of the Royal Ballet and becomes a star of the prestigious london-based company for 19 years, never seen that before. Despite this, his mood swings, his addiction to the drug, his seizures and his rebellions not subside, not. Two years later, in 2012, he slams the door of the company. The dance is a constraint that is too heavy, it loses its soul of an artist, it argues. It installs as a tattoo artist, will lose the right to work in England and found refuge with Igor Zelinsky who runs Moscow ballet Stanislavsky. In vain, try-t-he of make it last Project Polunin as it launches in 2017. The shows are so evolutionary that the critical éreinte.
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today, at age 29, he’s dancing still, in particular in Munich and Moscow, and turns movies. He played in Red Sparrow , the Crime of The Orient-Express of Kenneth Branagh and in the nutcracker and the Four Kingdoms . We can’t ask him to remove the top: he has the face of Vladimir Putin tattooed on the chest.