Back to the barre, Tara!

Premier of Dance Academy: The Movie on 6. April 2017

I can’t wait to watch this movie – though being over 20, I probably shouldn’t be this passionate for an Australian teen drama about love, relationships and careers. But there are two understandable reasons: I love Sydney, so I enjoy the setting and scenery of Walsh Bay, Harbour Bridge and the beaches. Secondly, I adore the dance scenes which feature all the highlights of classical ballet and comtemporary dance.

Continue reading “Back to the barre, Tara!”

Stunning Kristina Shapran & Sergei Polunin

Please excuse me: My last post didn’t work on all computers. I hope this one will do!

Enjoy this beautiful video. Wait a bit until it starts!

Have a great long weekend!


On July 2013 George Harvey and Garage Magazine invited ballet dancers Sergei Polunin and Kristina Shapran to create an unrehearsed improvisation to Satie’s Gnossienne No1.

Continue reading “Stunning Kristina Shapran & Sergei Polunin”

Ballet Star Sergei Polunin: Intimate Prodigy

The James Dean of the Ballet WorldSergei Polunin was decribed by Daily Telegraph in 2012. He quit the Royal Ballet in London sensationally and stopped his golden carreer by himself. Enjoy to see him dancing in “Take me to church”, by Hozier, directed by David LaChapelle.


Article in the guardian from February 2015 von Judith Mackrell

Sergei Polunin dances with his demons to Hozier’s Take Me to Church
David LaChapelle captures the Ukrainian dancer’s battle to make peace with his talent – and in another viral video, Baryshnikov partners Lil Buck

When Take Me to Church was released in 2013, with Brendan Canty and Conal Thomson’s graphically angry protest video, Hozier’s hit song span off into a worldwide anthem for the lesbian, gay, bisexual and transgender community.
Now another video interpretation of the Hozier song has appeared online, and it too is going viral. If there’s a political message to David LaChapelle’s film of Sergei Polunin dancing alone in an empty barn, it’s a deliberately oblique one. But Polunin, a Ukrainian dancer who is now working principally in Russia and who has struggled very publicly in the search for his professional and personal identity, brings a story of his own to Hozier’s song.
This solo is far from showing Polunin at his extraordinary best. Jade Hale-Christofi’s choreography is burdened with hackneyed, head-clutching emoting and, atmospheric though the venue is, it’s a constricted space. Yet LaChapelle’s filming creates its own striking chemistry with Polunin, portraying him nakedly, poignantly alone with himself. His numerous tattoos – usually covered with stage makeup – are proudly on display, his dancer’s tights are symbolically torn. And in the huge body-wracking shifts from floor-hugging crouches to airborne leaps, Polunin does seem to bring to his dancing the demons of his difficult life.

The fact that he was pushed into ballet training, sent off to the Royal Ballet school when he was just 13, left Polunin with a deeply conflicted relationship to his own prodigious talent. Three years ago he suddenly exited the Royal, claiming he was unable to work within the constraints of the company’s discipline. And although he subsequently moved to Russia to dance with the Stanislavsky and Novosibirsk ballet companies, he still did not settle. In September last year he announced his intention to leave ballet altogether and begin a Hollywood career, and while he is still dancing it’s unclear for how long.
In his performance for LaChapelle’s video, the gorgeousness of certain dance moments (and paradoxically the ragged quality of others) make painful viewing for those who’ve long admired Polunin’s talent but fear he will never make peace with it. The pure eloquent stretch of his back at 1m37s; the lovely control of shape and rhythm as his airborne pirouettes topple down towards the floor at 2m15s; the tight stretch of the feet in the tours en l’air; the angled line of the jump at 3m37s. These are physical riches, and they don’t come around that often in the ballet world. But Polunin is only 25. And the fact that a career can be as long and flexible as you make it is demonstrated by 67-year-old Mikhail Baryshnikov – the classical prince turned contemporary dancer turned actor, who’s also going viral on the internet right now.

I was slightly surprised to see Baryshnikov in this Rag & Bone fashion shoot, given his recent career trajectory towards Samuel Beckett and Robert Wilson. But I suspect that the main draw was the chance to dance with hip-hop artist Lil Buck. Baryshnikov has always had a curiosity and a reverence for other dancers and other forms and it’s fascinating to watch him working alongside Lil Buck and absorbing the robotic flicker and low-slung bounce of his style.
Possibly the director should have suggested Baryshnikov relax his expression slightly. But what a physical performance he delivers – the explosion of energy through his body at 40s would be impressive in a dancer half his age. And what a phenomenon of grace, charisma and control is Lil Buck – whose own curious-minded explorations outside the hip-hop box (like this masterly take on The Dying Swan) suggest he may have as long and varied career as Baryshnikov himself .


*NOTE: This is one of the few posts rescued from my last blog, re-edited.

If you are inside the ballet world it’s probable you’ve heard that name before.  In case you are not familiar with him I’ll give you a little insight to whom Sergei Polunin is.

The media has called him the James Dean of ballet, why? A young prodigy, Polunin became a legend since his ballet school days at the Royal Ballet School in London. Recognized for his clean and perfect technique he earned the respect and admiration of teachers as well as his fellow classmates and members of the company.  Finally, in 2010, he became the company’s youngest ever principal at age 19.

The hype of his career was at it’s best when suddenly  he decided to rebel against the rules, quitting and leaving the Royal Ballet Company without much explanation in the middle of a rehearsal. This, of course, caused great…

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Brutal Bolshoi – a film on the acid attack

Film lifts the curtain on infighting at the institution after an acid attack on its artistic director. The Calvert Journal reports – Source: The Guardian

Read full article:

The film has been shown on HBO in the US. It was released on 8 January 2016 in Great Britain’s cinemas. Its premiere has not yet been announced for Germany and Switzerland.

Vorankündigungen Ballett in TV, Live Cinema und Steps Festival


Tanzen für Russland – die Welt des Bolshoi Balletts

auf Planet am 13.1. um 17.40 Uhr, am 15.1. um 6.00 Uhr, am 16.1. um 6.55 Uhr. am 17.1. um 8.05 Uhr und mehr

Die Reportage – Dokumentation über den Alltag von Balletttänzerinnen und -tänzern: Disziplin, Verzicht, hartes Training

auf Spiegel TV-Wissen am 15.1. um 9.20 Uhr

Continue reading “Vorankündigungen Ballett in TV, Live Cinema und Steps Festival”

Royal Ballet Live am 26. Januar im Kino

Ballets: Rhapsody / The Two Pigeons


A celebratory showpiece set to sweeping music by Rachmaninoff – Frederick Ashton’s ballet is a tribute to virtuoso dance.

Dancers: Natalia Osipova and Steve McRae

The Two Pigeons
Ashton’s two-act ballet on the nature of love is a masterpiece of gentle humour and pathos.

Dancers: Lauren Cuthbertson, Vadim Muntagirov, Laura Morera

More information: Website Royal Ballet London and local cinema





Donnerstag 07.01.2016, 20:15 – 21:45 Uhr     

"Das STUTTGARTER BALLETT tanzt STRAWINSKY": Tänzerin in indischer Pose. Arme elegant vor dem Körper verschränkt. Rotes langes Kleid, roter Hintergrund

Ein Ballettabend gewidmet dem revolutionären Grandseigneur des Tanzes Igor Strawinsky. Im Fokus stehen drei Märchen choreografiert von Marco Goecke, Demis Volpi und Sidi Larbi Cherkaoui.

Mit einer Neuversion und zwei Uraufführungen vom Avantgardeballett über narratives Handlungsballett bis zur üppig ausgestatteten Tanzpoesie wird das STUTTGARTER BALLETT auch der Stiluniversalität von Strawinskys Musik gerecht. Eine beeindruckende Hommage.

Er war ein Chamäleon der Musik. In seiner Wandelbarkeit hat man ihn sogar mit Picasso verglichen. Igor Strawinsky steht als Synonym für die moderne Musik. Zunächst skandalös, aufreizend und unerhört ist seine Musik bis heute Quelle der Inspiration und Lieblingskind vieler Choreografen.

Das STUTTGARTER BALLETT widmet dem russischen Ballettanarchisten einen kompletten Abend. Auf der Bühne tanzen, explodieren, erzählen und packen Marco Goeckes “Le Chant du Rossignol” (“Der Gesang der Nachtigall”), Demis Volpis “Geschichte vom Soldaten” und Sidi Larbi Cherkaouis “Feuervogel”.

Marco Goecke löst sich in seiner Choreografie zu “Le Chant du Rossignol” am weitesten von der ursprünglichen Geschichte. Die Erzählung von dem kranken chinesischen Kaiser, der durch den Gesang der Nachtigall den Kampf mit dem Tod überlebt, ist rein auf das Vogelsymbol konzentriert. Die Assoziation Flügel schlagender, flatternder Wesen erweckt Goecke mit Bewegungen des kompletten Körpers. Seine Choreografie ist geheimnisvoll, mystisch: “Nimmt man einen aufgeregten Vogel in die Hand, spürt man das Zittrige, das Knochige, aber auch das Federleichte. Es ist eine beeindruckende Zerbrechlichkeit, gepaart mit einer Kraft, die gar unseren Traum des Fliegens noch erlaubt… Vielleicht befindet sich dieses Stück in der Luft! Denn es ist nur ein Hauch!” (Marco Goecke)

Die erste Uraufführung des Ballettabends stammt von Hauschoreograf Demis Volpi. Als Spiel im Spiel inszeniert der junge Argentinier seine Geschichte um den Soldaten, der seine Geige – und damit seine Seele – dem Teufel verkauft. Eine konkrete Bildlichkeit, die man von Naiver Kunst kennt, ist Volpis Sprache. Mit Requisiten wie Truhenschränke und Attrappen erzeugt er die Atmosphäre einer Wanderbühne. Mit dem Teufel, grandios getanzt von Alicia Amatriain, triumphiert das Dämonische. Alicia ist Siegerin des Kampfes zwischen Gut und Böse und das raffinierte Herz der Choreografie.

Der flämisch-marokkanische Ausnahmekünstler Sidi Larbi Cherkaoui wird derzeit in den Medien als einer der besten Choreografen Europas gefeiert. Mit dem “Feuervogel” kreierte er zum ersten Mal ein Stück für eine deutsche Tanzkompanie. Cherkaoui übersetzt das russische Volksmärchen in einzelne poetische Bilder. Es sind Metamorphosen, in denen der Feuervogel für Leben, Tod und Wiedergeburt steht. Lava als Metapher für die schönen und zerstörerischen Energien des Lebens, federleichte, flügelähnliche Stoffbahnen, weiße Federn in abstrakten Landschaften, ein verspiegelter Vulkan. Das ist Cherkaouis Feuervogel – elegant, außergewöhnlich, ein Fest der Sinne.