Murder on the Orient Express

Интересно, что на сайте пармского театра уже есть весь каст, а в Лондоне - гордое молчание...

Мне захотелось пересмотреть фильм 1974 года, там снимались многие звёзды: Альберт Финни, Ингрид Бергман, Энтони Перкинс, Джон Гилгуд, Ванесса Редгрейв, Майкл Йорк, роль которого (граф Андрени) и исполняет Сергей Полунин. Режиссёр - Сидни Люмет. Не верится, что этот, новый фильм с м ожет приблизиться к тому. Посмотрим.
Возможно, об этом у нас уже где-то было?

Не был и в старом фильме персонаж Йорка значительным, просто муж, поддерживающий жену, большей частью просто молча держащий ее за руку

https://youtu.be/gEtjp8Ow-zo
https://youtu.be/zedtrCrwOGA

Отредактировано лапа (21-11-2017 14:18:25)

https://officiallondontheatre.com/news/ … 111406502/

Sergei Polunin has announced exciting full casting for Project Polunin’s Satori, which plays a limited season at the London Coliseum next month.

As previously announced, Polunin will first take centre stage as the star of First Solo, the opening piece of the mixed programme. Subsequently joining Polunin in Goleizovsky’s Scriabiniana will be Natalia Osipova, Valentino Zucchetti & Akane Takada from The Royal Ballet, Yaoqian Shang from Birmingham Royal Ballet, Laurretta Summerscales & Yonah Acosta from Bayerisches Staatsballett, Alexey Lyubimov from The Stanislavsky and Nemirovich-Danchenko Moscow Academic Music Theatre, Evgenia Savarskaya from Bolshoi Ballet, Jason Reilly & Elisa Badenes from Stuttgart Ballet and Alexandre Riabko & Silvia Azzoni from Hamburg Ballet.

Finally, the cast for Satori will include Sergei Polunin, Natalia Osipova, Jason Reilly, Alexey Lyubimov and The Royal Ballet School Junior Associate Thomas Waddington.

Both Scriabiniana and Satori will be accompanied by the Orchestra of English National Opera, conducted by Gavin Sutherland.

Прошу прощения, а что у нас сегодня плохого приключилось? У нас вроде на форуме интересные вещи появились. Или нет?

Ну тогда слава форуму.

Мы тоже отпраздновали день рождения господина Полунина, посмотрев его кинематографический дебют.
Удовольствие получили колоссальное. От прекрасно отснятого фильма, от замечательной игры выдающихся актёров, от великолепного музыкального сопровождения.
Мы поздравляем Сергея Полунина с дебютом, который состоялся в таком качественном "продукте".
Полунин играл там самого себя: смотрел, взирал, входил в раж ... В принципе, было бы интересно сделать раскадровку с приложением из балетных стоп-кадров: вот здесь он смотрит Рудольфом, вот здесь - воплощение Альберта, а здесь - ну прямо Солор ...
Так что почин положен, куда идти понятно. Будем с нетерпением ждать развития карьеры в данном виде искусства.

http://dancetabs.com/2017/12/sergei-pol … -and-life-  С Премьерой! Удачи!!!

Отредактировано Старр (05-12-2017 07:39:34)

А кто там ещё занят, кроме Полунина и Осиповой?
Жаль, что всё на английском. Что там, интересно, сказал Полунин в интервью, хотя бы приблизительно выдержки?

Спасибо, будем ждать!

http://www.independent.co.uk/arts-enter … 96591.html -Zoë Anderson:"It puts some fine dancers through a murk of glum philosophising"

https://www.standard.co.uk/goingout/art … html-LAURA FREEMAN:"He seems to be suffering from Johnny Depp-syndrome. A truly great performer playing the jester, the oddball, the wild man, when he should be prince and hero. "

http://www.telegraph.co.uk/dance/ballet … view/-Mark Monahan: "Kasyan Goleizovsky’s Scriabiniana dates from the Sixties, a period when Ashton, MacMillan and Balanchine were all at the height of their astonishing powers. But Goleizovsky was not in their league, and nor does he even have the unsophisticated power of that gallumphing old Soviet favourite Grigirovich, which makes this ballet look like a bizarre choice for a marvellous young dancer wanting to explore new choreographic territory.In a dozen or so sections, and seeming to last longer than the USSR itself managed, this suite is an abject example of choreography managing to be at once as high as old gorgonzola and yet hope-drainingly bland. The women are repeatedly hoiked into the air in a panolpy of awkward lifts, Polunin takes a thrashing-about, cod-Spartacus solo, and, although a fine collection of dancers drawn from several leading companies do their level best, there is simply no way to make this work interesting." 

Отредактировано Старр (07-12-2017 20:50:38)

Да и никто не сомневался, что будет по-другому. Хотя Graham Watts‏ вчера написал в твиттере :"Happy to see the P&O vessel cruise confidently into uncharted territories, this evening; more exotic and certainly calmer waters - altogether more enjoyable than the last "voyage" - job well done, Sergei"...но это было  вчера после пресс-просмотра, посмотрим теперь что он в обзоре напишет.
https://www.thetimes.co.uk/article/danc … -5lsmvs6rp

Dance review: Satori at the London Coliseum
Despite its naivety, Sergei Polunin’s melancholic, reflective and heartfelt autobiographical ballet is genuinely affecting
new
Debra Craine
December 7 2017, 5:00pm, The Times

Sergei Polunin in Satori, the latest show from his Project Polunin
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★★★☆☆
The dancer Sergei Polunin has taken the adage “write what you know” literally in his latest production. Satori is the name of the evening he has curated and the name of the autobiographical ballet that fills its second half. This 40-minute premiere is a psycho-drama based on a life that has been frequently documented in print and was the subject of the 2016 documentary Dancer.
It’s rich pickings indeed. Leaving his family behind when he came to the Royal Ballet School as an adolescent (and not knowing a word of English), the wayward, tattooed and supremely talented Ukrainian, famous for his “bad boy of ballet” tag and his stroppy exit from Covent Garden, has always seemed a lost soul.
That’s certainly the impression that emerges from Satori, a 40-minute journey (set to music by Lorenz Dangel) into the psyche of a man yearning for happiness and searching for the peace that eludes him. Polunin, dressed in a light suit and open shirt, is responsible for the choreography, although what there is (pirouettes and jetés mostly) is minimal and repetitive.
For the most part he acts out, with aching sincerity, a maelstrom of emotions while being taunted and haunted by demons. There’s a mother figure (Ljiljana Velimirov), a love interest (Natalia Osipova) and a young boy (Tom Waddington) who represents the hopes and dreams of childhood. Despite its naivety, Satori, melancholic, reflective and clearly heartfelt, is genuinely affecting.
The programme (a great improvement on the bombastic folly he presented at Sadler’s Wells this year) opens with First Solo (2017), a seven-minute work created by the contemporary Russian choreographer Andrey Kaydanovsky and danced by a bare-chested Polunin in full-on angst mode “as the man who seeks freedom from the dance that enslaves him”. The choreography is feeble, although the performance was sincere.
We move up a notch with Scriabiniana (1962), from the Russian dancemaker Kasyan Goleizovsky, who died in 1970. Polunin features only briefly in this overlong and highly emotive series of small vignettes, well performed by guests including Osipova, Valentino Zucchetti and Akane Takada from the Royal Ballet, and Yaoqian Shang from Birmingham Royal Ballet, among a cast of 11. The lush Scriabin score is played by the Orchestra of English National Opera, conducted by Gavin Sutherland.
The dancers luxuriate, there’s a bit of drama to liven proceedings, and Osipova’s buoyant solo enchants. Polunin has a grandstanding Spartacus moment to keep his fans happy.

Отредактировано Старр (07-12-2017 20:50:02)