Великобритания с США возглавляет  русофобскую  компанию. Получить гражданство в этих станах, не раскаявшись и не отрекшись  от всего ,что было связано с Россией невозможно. Он,что отрекся от слов в интервью , данному Собчак, которыми он выразил    свое уважение и восхищение Путиным(что он делал неоднократно ,не только в этом интервью)и где он сказал ,что более свободным ,чем в России, он себя нигде не чувствует. И ,вероятно, вывел  татуировку на груди с портретом Путина.  Все это выглядит . странным и удивительным. Он, наверное, уже не помнит о комплексе ,строящемся в Севастополе ,и вообще обо всем что его связывало с Россией.

Отредактировано Рома (20-07-2022 11:31:34)

28 ИЮЛ, 21:55
Артист балета Полунин после перерыва из-за травмы ноги впервые выйдет на сцену в Крыму
Сергей Полунин исполнит танец в патриотичной композиции "Встанем", слова и музыку к которой написал популярный исполнитель SHAMAN

СЕВАСТОПОЛЬ, 28 июля. /ТАСС/. Артист балета Сергей Полунин в первый раз после долгого перерыва, вызванного травмой ноги, выйдет на сцену в Крыму. Об этом танцовщик сообщил журналистам на площадке гала-концерта звёзд мирового балета, ежегодно устраиваемого Севастопольским театром оперы и балета.

Ранее танцовщик заявлял, что не сможет представлять своего "Распутина" в Милане в театре "Арчимбольди" в апреле из-за травмы. Спектакль, по словам артиста, перенесен на следующий год.

"Сегодня буду первый раз танцевать после травмы. Не полностью еще восстановился, но очень попросили, и сам я очень хотел здесь выступить. Надеюсь, тело справится, и все получится. Очень хотелось выйти на сцену, и я рад, что это происходит здесь, в Крыму", - сказал артист.

Полунин признался, что очень волнуется, поскольку на тренировках он еще не работал "в полную ногу". Артист выразил благодарность медикам. "Мне врачи очень помогли в первые два месяца, потом я уехал, операция [на порванном ахилловом сухожилии] была в Дубае, я уехал обратно в Москву", - добавил он.

Сергей Полунин исполнит танец в патриотичной композиции "Встанем", слова и музыку к которой написал популярный исполнитель SHAMAN (Ярослав Дронов).
https://vk.com/wall-48675996_24281

https://www.tvc.ru/news/show/id/246005
А здесь немного и Ксении Рыжковой

Программа концертов «БАЛЕТ ГАЛА в Херсонесе»
28 и 29 июля 2022 года
Начало концертов в 20.30

1 отделение:
Па-де-де из балета “Корсар”,
хореография Мариуса Петипа,
музыка Адольфа Адана.
Исполняют: Ксения Рыжкова,
Дмитрий Соболевский
Вариация Хулигана из балета «Барышня и Хулиган»,
хореография Константина Боярского,
музыка Дмитрия Дмитриевича Шостаковича.
Исполняет: Владимир Шкляров.
Па-де-де из балета «Спящая красавица»,
хореография Мариуса Петипа,
музыка Петра Ильича Чайковского.
Исполняют: Дарья Бочкова,
Семён Чудин.
«La Noche De Mi Amor»,
хореография Виталия Савченко,
музыка и слова Чавелы Варгас.
Исполняют: Виктория
и Анастасия Михайлец
Па-де-де из балета «Дочь Фараона»,
хореография Пьера Лакотта,
музыка Цезаря Пуни.
Исполняют: Евгения Образцова,
Клим Ефимов
Па-де-де Катарины и Петруччо из балета "Укрощение строптивой",
хореография Жана-Кристофа Майо,
музыка Дмитрия Дмитриевича Шостаковича.
Исполняют: Екатерина Крысанова,
Владислав Лантратов
«Лебедь»,
хореография Михаила Михайловича Фокина,
музыка Камиля Сен-Санса.
Исполняет: Светлана Захарова

Большое спасибо!

3 октября художественный руководитель МХТ имени А. П. Чехова Константин Хабенский, артист балета Сергей Полунин и пианист Андрей Коробейников вместе выйдут на сцену Художественного театра. Ритмы стихов, движений, звуков сольются в посвящении выдающемуся артисту, режиссеру, деятелю отечественного театра Олегу Ефремову. В этот вечер впервые будут прочитаны фрагменты дневников Олега Николаевича, впервые прозвучат его стихи.
Автор сценария и режиссер вечера – Николай Скорик. Художник — Николай Симонов.
https://mxat.ru/performance/special/efre…

https://www.facebook.com/groups/1063962 … 990029132/

К. Рыжкова официально в МАМТ, примой.

Лунная соната Бетховена в Ташкенте 25.09.2022

И танец на песню "Встанем" Shaman

Отредактировано lete (26-09-2022 15:07:48)

https://vk.com/wall-48675996_24663
Организаторы отказались платить суточные артистам и будут судится за возврат денег за выступление из за номера Сергея "Встанем"
В комментах под постом Ксения Рыжкова

А зрители Ташкента пишут. что  "до мурашек"

Вот такое видео принесли на фейсбуке в группу Полунина. Это интервью с руководителем его фонда в Сербии после недавнего благотворительного гала. На фейсбуке и перевод сделали на английский. Текст длинный

Translation: 
- With me in the studio is a wonderful lady, Zrnka Mišković, we met for the first time, she is director of the Sergei Polunin Foundation Serbia. For viewers who do not come from the world of ballet, please first introduce us to who Sergei Polunin is and what you as a Foundation represent.
-Sergei Polunin is perhaps the most well-known dancer in the last ten years. He is Russian from Ukraine...
- What a combination!
-... Yes, especially now, at this moment. After graduating from school in Ukraine, he was admitted to White Lodge, which is perhaps the most prestigious ballet school in England for sure, and maybe in Europe. It's an expensive school, over £40,000 a year, and he came to London with no means. He passed the audition and the director of the school contacted the Nureyev Foundation to ask for funds for his education. After his death, Nureyev left the foundation and the patron of that foundation, Jacob Rothschild, personally gave his consent. So Sergei stayed at that school, graduated and was recruited to the Royal Ballet in Covent Garden. And there is a hierarchy there regardless of how talented you are. Everyone has passed that hierarchy. For example, they audition every year, the ballet principals go to the audition for the next season every year. So, there are no lifetime contracts, everything is for one year, there is a lot of competition and it is very cruel. Basically, he was made principal at the age of 19, and at that moment he was the youngest to become so in the history of that institution. In three years, he danced I mean everything that exists in the ballet repertoire and fell into a creative crisis because they didn't really allow him to do anything else outside of that. Then he quit his job and instantly became notorious. He had to leave the country because the Royal Ballet was his sponsor for a residence visa. Then he went to Russia, he had nowhere to go. He couldn't even get an American visa. Fortunately, in Russia he met a man who supported him, that is Igor Zelensky from the Stanislavsky Theater. Sergei danced there for a couple of years. Zelensky is a very important and influential man, not only in the ballet world, but in general in the domain of culture and art in Russia.
- Now I will send the link to my colleagues from the editing room Sergej's picture so that viewers can see it. He is very interesting with those tattoos, very special and unique.
- Everything I talked about was followed by Gabrielle Tana, who produced the documentary film Dancer. It is actually an archive material from his beginnings to the moment he left that system. The film premiered in 2017, and in the same year, Gabrielle Tana produced a film about Rudolf Nureyev, The White Crow, which was mostly shot in Serbia. Ralph Fiennes directed and starred in the film and the three of them came to Belgrade to look for locations. Sergei simply fell in love with Belgrade there, then he got our citizenship and rehearsals began there for the first independent production Satori, which premiered in London in December 2017. Then we continued working. Gabrielle Tana invited me to join and I started working on production. Since he kept coming back to Belgrade and since with the help of the Rudolf Nureyev Foundation he got the opportunity to study and build his career, he wanted the Sergei Polunin Foundation to be established so that he too would be in a position to help the younger generations.
- Those are really wonderful stories. Tell us about Monday's event.
- So, after the foundation was established, we held a small audition for the role of little Sergei who meets big Sergei in that play Satori. A boy of 9 or 10 years old. Ten boys of that age appeared at the audition for the role. I was shocked, I did not know that in Belgrade it is possible to find ten boys who go to ballet.
-I personally know some boys of kindergarten age who want to go to ballet. The children are not the problem, the parents are the problem, they are surprised that the boys want to go to ballet.
- Ballet dancers have the most beautiful physiques, as do many athletes. So, those kids came to the audition and three of them made it to the shortlist. Not to go into details now, those three boys somehow came to me through a combination of the most incredible circumstances in the next year and had the opportunity to apply for funds from the Foundation because all three had already been accepted to schools: one in Vienna, one to Mannheim and one to Hamburg. Very hardworking children, all three of them. After some time, a girl came and was accepted to a school in Vienna. I went through various situations with them, and through covid, which made it very difficult for us to work, both for sponsorships and for donations. For two years, the budgets were frozen and it was very difficult, but miraculously we managed to maintain that continuity. In addition, this year Sergei had an injury. We have a production company that deals with commercial activity, the production of our ballet performances that go on tours around the world, and we give a certain percentage to the Foundation every year. There is a Foundation in Russia as well and Sergei supports children in the academy in Sevastopol. They take in twenty children every year, and Sergei supports another 8 or 10 children on top of that.
- 17. October, a Foundation performance was held on the stage of our National Theater.
- I must say that the National Theater recognized our goal. Many thanks and greetings to Tanja, Olivera and the team, and of course to the director and the previous management because they recognized our vision and supported our mission. They are our hosts for the fourth year, and I don't mean only the management and marketing department, but everyone, sound engineers, stage workers, all the people who work there, there is also Jasmina Zotović who organizes everything and takes care of everything. I organize that evening every year in cooperation with the Fabrika agency, Vesna Mandić, Milan Kovačević and PR Ivan Rajković are there. Really, every year everything is done top-notch. Every year we manage to collect funds for the next school year.
- That's actually the most important thing.
- Yes, at least two new donors appear every year.
- Well, that's phenomenal! This is not always the case, especially for ballet. They must be big fans of ballet art.
- Yes, yes, and they all come to the show. I am very happy when I see that someone who recognized and supported our work is satisfied with what he saw.
-Tell us how much tuition costs for ballet dancers around the world. What does it mean when you graduate from a prestigious ballet school in London or Vienna?
- In Germany, these are state schools and we have some kind of agreement with the Germans, so our children do not pay school fees. Of course, provided they pass the entrance exam. However, they pay other fees, like semester insurance and accommodation. In the case of Nikita, who is in Mannheim, the whole family moved. It's a fascinating case for me. His mother is a teacher of the Serbian language and she found a vacancy for a position through the Ministry of Diaspora, which I don't know if it exists anymore. Basically, she found a job right where her son was accepted to ballet school. The whole family moved, it's phenomenal. Then, the boy who is in Hamburg received a full scholarship from the first day and we helped him with accommodation and gave him basic financial resources. We paid boarding school for Djordje Kalenić, who was in Vienna. He is now at the John Cranko School in Stuttgart.
- What are the amounts, what are the costs?
- For Vienna, e.g. Jana Zimonjić is now in Vienna, she stayed there, that's about 550 euros a month, about 6000 a year.
- What are their obligations towards you?
- They don't really have any obligations, but they are all very grateful and act as ambassadors of the Foundation. While there was corona, everyone was recording video material, so we played those recordings through the projector. They always prepare some variation, present themselves and wherever they perform, they perform as scholarship recipients of the Foundation. Djordje was a surprise this time. In the last two years, everyone participated via video link, because otherwise they would have to be in quarantine for two weeks when returning to school. This year, Djordje surprised us and came to Belgrade, so I changed the program quickly because Sergei was supposed to dance something else. However, since Djordje came, I made a compilation of scenes from the Rasputin ballet so that the two of them could dance with us. Namely, he danced in that play. That's also another thing, that we gave the opportunity to some of our scholars to dance in our productions.
- To dance with Sergei.
-Yes. Sergei danced Rasputin, and Djordje danced Tsarevich Alexei Romanov. This recording you played is from the National Museum. Sergei was invited to shoot a promotional video for the opening of the National Museum after renovation. This is the video that was shot for that campaign. We can't hear the music now, but you can watch the video on Youtube. Vuk Vidor directed the video and it was filmed in the atrium of the National Museum.
- Was this just a promotional video or was it filmed in front of an audience?
- That was a promotional video that was broadcast that evening on the occasion of the opening. Also, outside, on the facade of the museum, a video mapping was made, with an edited montage. It looked spectacular, it was displayed over the entire facade of the National Museum. We were inside, but I have a video from the balcony because some guests were outside and they were filming there, it really looked impressive.
-Tell us a little more about how this event went on Monday.
- I am full of passion for everything we do. And for the production, and especially this part that we are doing for the children, I am very excited about it. When we do productions, we already have serious crews in Serbia and that is very inspiring. I really love my job and the cooperation we achieved in Serbia. We have a great scenographer, Rade Mihajlović, who works with all our scenographies. He has a studio in the Pink studio in Šimanovci and his entire team is fantastic. They worked for us on the scenography for Romeo and Juliet, a play that premiered in the Arena di Verona in front of 10,000 people. We had 24 hours. Rent a bare stone, so to speak, and in those 24 hours you need to set up everything: the floor and the ballet floor and the tracks and the lighting and the sound, all complete and all backstage.
- Well, you could have simply used the streets of Verona, let's say Julia's balcony. (laughter)
- That would just be complicated. This is at least as much as you can control. It was very intense, but spectacular. And then you have to take it all apart and pack it up because the next production comes at 6am. And so it is there day after day. Then, last year in December, we had the same show at the Royal Albert Hall in London.
- That all sounds so good, when are you going to take me with you? (laughter)
-Sergei had a very serious injury, he ruptured his Achilles tendon in March. Now that's over, here he was dancing this year. He comes and dances at our Foundation's event every year. I can see that he needs a little more recovery. There is that famous video of his Take me to Church that looks easy and smooth, but in it he does all the most difficult ballet jumps. He is now in the middle of a Russian tour. He performed in Moscow and St. Petersburg.
- And with all that, he finds time to come and perform here?
-Of course. We organize everything so that he can come. We took four days, for rehearsals, and we also had some meetings on the second day and he left that evening. It was a wonderful evening and once again a big thank you to all the dancers. Soloists and principals from the National Theater performed. I was backstage, and it seems to me that they danced like never before, that everyone was very motivated and inspired. We also had guests from Slovenia, Petar Dorčevski and Nina Noč, they danced Adagietto choreographed by Zanella. By the way, he is the director of the ballet in Ljubljana and Petar has been here for the second year and they support all this. The children were wonderful, and the audience was also wonderful, open and warm.
- Who was in the audience, were they ballet lovers or was it a mixed audience?
- I recognize those faces who have been coming for years, they were donors, sponsors, people from the city administration and institutions, there were people from Zepter, but also ballet lovers. I follow ballet and I know that I have seen those faces. The atmosphere was very warm, with a lot of the most sincere support.
- What's next in the plan?
- We are waiting for the end of the tour with Rasputin in Russia, then Dante follows, it is a big production based on the Divine Comedy, entitled Dante Metanoia, a word I love very much, which means transition or transformation, as in Dante, from darkness to light. This piece was commissioned by Christina Mutti, the director of the festival in Ravenna, and the performance was postponed for a year due to covid. Last year, it was the so-called limited season, a block of five performances at the beginning of September, in Ravenna, at the Dante Alighieri Theater. It was wonderful, Kemal Gekić who played the piano in Inferno also participated, he played very dramatically. I hope he will also go to Moscow and play there. There were three composers, for Inferno, Purgatory and Paradise. Three composers, three choreographers and three videographers. Three completely different signatures both in music and sound and in movement and visuals. Sergei is the thread that ties it all together. It is not Dante who goes through all this, but Sergei who is guided by Dante. He was really made for those dramatic and, how can I say, those to-be-or-not-to-be roles. Now we currently have another project that is already in production. Music is being written and costumes are already being discussed. It is about the Master and Margarita, one of my favorite books. I have been waiting for years for this project to happen in some form. I thought it would be a movie, but here it will be a ballet show, a spectacle, a choreodrama / ballet. Not to give too much away, there will be a lot of interesting things that are not pure ballet, but that contribute to the authenticity of the characters in the novel.
- So now you will work on it, and the next humanitarian evening will be around this time again?
- Yes, we always try to make it happen when everyone comes back from vacation, when the school year starts. This is usually the third or last weekend in September so that the funds can already be used for the current school year. Of these four scholarship holders that we have now, one remains in education, and the other three are in their senior year and are starting to prepare for auditions. We help them with that. Now Sergei talked to Djordje to see what he would do next. I really appreciate it when children explore what they want on their own. They look at which school has what kind of curriculum, watch videos and then evaluate what they want. Djordje called me and said that he wanted to go to John Cranko and that he felt constricted in Vienna. I said, ok, if that's what you want, prepare for the audition and go there. He got ready, left, reported that he was accepted, sent us the conditions and that was it. Likewise, little Nikita wanted to go to Mannheim for the academy, which is actually a bachelor's degree. Then his mom also got a job and everything came together. Kallum Morris, who is in Hamburg, adores John Neumeier, that ensemble and that school. The girl who is in Vienna also likes to be there. Regarding the question of what they will all choose, we can always organize a panel with Sergei and with dancers who are friends of the Foundation to help the children. We have support in various places in Europe, regardless of the situation, because it is about art. All the people who danced in our productions and with whom we collaborated through creation are very open and absolutely ready to help, especially when it comes to children.
- I am glad that the evening was successful and that there was a good response from sponsors and humanitarians. Thank you for this conversation, I am glad that you introduced me to the work of Sergei and the Foundation.
- Thank you too, it is important for us that people hear about us. We will share a link to this video.

И фото к тексту предыдущего поста