Я со всеми согласна.
Но я даю им шанс.

А вот это бесспорно

"Кто там" с Натальей Осиповой и Сергеем Полуниным

Полунину тяжело выражать свои мысли,подбирать слова и русский,видимо,так и остался сугубо бытовым.
Но конец вью понравился,да и в принципе передача вышла светлой и оставила приятное впечатление.
И какие же у Наташи красивые глаза)

Меня еще напрягло то,что тут Осипова говорит,что ей тяжело ничего не играть,быть собой, а зимой Кузнецовой сказала,что нравятся бессюжетные балеты,без истории.

Кажется,эту мысль из него уже не выбить.
Я,в силу своего возраста,не следила за творчеством Зеленского во времена его активной карьеры, но,судя по вью ИА,он исповедовал подобный образ жизни,так что...

За Васильева тоже можно порадоваться в таком случае-Мария вкусные котлеты жарит)
Ну и позабавила реакция на вопрос о татуировке)Как и сама подводка к ЛЖ через татуировку и не только ведь у Верника...)
Это если немного придираться к вью,но, если честно,делать это после просмотра мне не очень хочется)

Отредактировано Yuka (21-09-2015 10:15:57)

Сергей , как-то обмолвился (по -моему в передаче С. Белзы ), что он классику не слушает , ему достаточно той , что он слушает во время исполнения , а в свободное время он любит слушать рок.Но тем не менее он очень музыкален,хоршо чувсвует и передает ее во время танца (правда, чего не скажешь  о "Других танцах").

В защиту госпожи Осиповой могу только сослаться на пост 8 

Ну у меня как раз больше вопросов по господину Полунину,просто не понимаю что именно ему так не пошло в работе,ибо,по моему мнению,эта хореография ему должна была подойти больше,чем Осиповой,с которой в принципе все было и вышло достаточно предсказуемо

Отредактировано Yuka (21-09-2015 22:06:29)

Может быть и расцвели ,но не в "Других танцах" .Оба были бесцветны и невыразительны.И никаким взаимопониманием и взаимопроникновением  там и не пахло.

Дорогая swetlana!
Мне кажется, что прима-балерина Королевского балета и бывшая балерина БТ госпожа Осипова не тот барашек, которого возят за собой на верёвочке в "Щелкунчике" или козочка, которую водит за собой её же Эсмеральда.
И хотя госпоже Осиповой присуще такое замечательное женское качество, как умение уступить место дорогому её сердцу партнёру - так было и в дуэте с господином Васильевым, так она теперь позиционирует себя в дуэте с господином Полуниным - но на самом деле это дуэт равновеликих личностей.
Чем он и замечателен.

Уважаемая Айрин, полностью с Вами согласна.Неужели не нашлось человека,способного хорошо сыграть Шопена?Я не говорю уж об известных шопенистах.

Они планируют жить в Лондоне и танцевать вместе.
Он хочет танцевать только с ней.

SERGEI AND NATALIA OSIPOVA FOR VOGUE UK, APRIL 2016

10 marzo 2016
lylith77
VOGUE

PHYSICAL ATTRACTION
Two superstars of the ballet world are now a couple – both on stage and off – and the chemistry between them is electric. By Sarah Crompton
Photographs by Scott Trindle. Styling by Nura Khan
As they walk into the room, they are a study in contrasts. He’s tall and relaxed, his dark hair curling around a strong face. Like a Byronic hero. She’s tiny and intense, with a piercing gaze, the upturned nose a surprising punctuation mark on a face of slanted cheekbones and huge eyes. Like a beautiful, delicate doll.
Sergei Polunin and Natalia Osipova are stars of the ballet world. And they are in love. “I just want to be with her really,” says Polunin. “I have never felt this way before,” adds Osipova. Separately, the pair made headlines. He found himself dubbed the “bad boy of ballet” after he walked out of the Royal Ballet in London in 2012, trailing dark tales of cocaine and depression, before finding new fame and acclaim in Moscow. His performance to Hozier’s “Take Me to Church”, filmed by the photographer David LaChapelle and released on Youtube last year, has been watched 14 million times.
She was the blazing wunderkind of Russia’s Bolshoi Ballet, a rare virtuoso talent, who flew in the opposite direction. Passionate and committed, she came to the Royal Ballet in search of artistic fulfilment and irradiated British dance with her presence, winning ecstatic applause from audiences and critics. Her private life seemed as sensational as her performances after she split in 2014 from her fiancé Ivan Vasiliev, another Russian superstar, who went on to marry the ballerina Maria Vinogradova. Cue “Bolshoi love triangle” headlines.
So when Polunin and Osipova confirmed their romance at a press conference last year to announce a new programme at Sadler’s Wells, it was perhaps inevitable that the excitement generated included comparisons to Elizabeth Taylor and Richard Burton. “We didn’t want to make a splash. We weren’t aiming for anything grand,” says 29-year-old Osipova. “It was just quite spontaneous.”
She is speaking through an interpreter. Despite five years of guesting with American Ballet Theatre and two years in London with the Royal, she doesn’t trust her English, though it’s clear she understands everything pretty well. Polunin, 26, who grew up here after arriving at the Royal Ballet School at the age of 13, speaks fluently and volubly in an accent that’s a unique blend of Cockney with hints of his native Ukrainian, stretching vowels in strange directions. Polunin looks tired – he’s just flown in from New York – but seems extraordinarily happy, thanks to the woman he calls by the diminutive Natasha. “Before, my life was a bit meaningless, just floating for years,” he tells me. “When you find somebody you love, you find purpose and it’s the biggest feeling. I ask myself, would I care if I were doing nothing, just sitting with her? And I know, yes, I would choose that. It’s really rare. Sometimes people go through life without finding that, so I am very lucky that I have her.”
Polunin’s search for purpose was obvious long before he abruptly left the Royal Ballet, where, at 19, he had become their youngest ever principal. His story is tattooed on his body, each distinctive mark representing a stage in an often troubled journey: the scars on his chest self-inflicted; a Russian symbol in the shape of a wheel on his midriff; on one shoulder, a portrait of Igor Zelensky, the dancer and company director who gave him work in Russia when he left the Royal; David LaChapelle’s initials on his fingers; and now Natasha in Cyrillic on the back of his hand.

Towards the end of his time at the Royal Polunin was so disillusioned and unhappy he claimed that he was taking drugs before performing and waking each morning, crying. His tragedy has always been that he is blessed with a natural talent that makes him one of the great classical dancers, with elegant lines and high, easy jumps that seem to be pinned to the air, yet he longs to be a footballer or a film star. “If it had been left up to me, I would have said no to dancing. I only did it because I could. I never thought it was a cool thing to do,” he told me in Russia, two years ago. “You don’t get fame like a footballer or a movie star.”
Even though he has enjoyed acclaim in London and considerable success in Russia, his dissatisfaction remains palpable. Indeed, he says, he was about to give up ballet when he made the David LaChapelle film last year. “I was feeling it was something so small, and not interesting. I was really sad,” he says. “It’s so easy to dance ballet. You do Swan Lake and it repeats and repeats. You’ve already done it and then you end up doing it for the money. You lose the plot at some point.” He could sound arrogant but he says it in such a way, it simply seems heart-rending.
Despite sharing Polunin’s early training as a gymnast, Osipova’s attitude to ballet is the diametric opposite. She loves dancing – “I can’t live without it” – and the trajectory of her career has taken her towards work she finds satisfying. Her physical facility – she too flies through the air as if it is her natural element – and dramatic power are the result of ferocious discipline. “Sergei is probably the most talented person in the world of ballet,” she says. “But I have to work hard to achieve success. I have to go through a lot of suffering to be at the same level.”
When they first met, Polunin’s reputation had preceded him. “People said he wasn’t very responsible, that he could run away. I heard these rumours that he had left a ballerina on stage while they were dancing. So my initial thought was that I would never dance with him!” She laughs at the memory. Then they began to bump into each other, first in Moscow, when she was on tour with the Royal Ballet, then back in London. “When I met him,” says Osipova, “he looked and felt completely different compared to how I had thought of him. He was quite shy and very real and I just thought he was great and that it would be good to dance together one day.” It was her mother, who lives in Moscow and had been watching Polunin’s performances with the Stanislavsky Ballet, who originally suggested Osipova should ask him to partner her for a guest appearance in Giselle, at La Scala in July. She asked, he agreed. “And then he disappeared.” She laughs again.
Polunin, meanwhile, had had a premonition. “I don’t watch ballet at all so I never saw Natasha dance,” he insists. “But I did dream about her. It got into my head that I didn’t want to see her or dance with her in case I fell in love with her. I kind of anticipated our meeting.” In fact, he had been trying to contact Osipova – but his emails had gone into spam. Once that misunderstanding was sorted out, they met in Milan. “From the first rehearsal, I knew,” says Polunin. “We have never been apart since,” Osipova adds.
I heard these rumours that Sergei had left a ballerina on stage while they were dancing. So my initial thought was that I would never dance with him!
Their pleasure in each other’s company is obvious. They giggle a lot, putting their heads together and gossiping in Russian. Their answers to what they see in each other are direct and clear. “He is very sincere,” says Osipova. “He says what he thinks. He is a person I can trust – in any situation I can rely on him. He is strong and very charismatic but as a man he is gentle and kind. I have never before felt this attitude towards me. Of course we quarrel quite a lot because we both have tempers. It is difficult when you are dancing in different places to find this harmony because we do have different opinions about work but so far we have been OK. I think love should prevail.”
As for Polunin, he is clearly besotted. “She is unique – the most talented, smart and a good person. For me that is the main thing. Natasha brings me stability and continuity. Because in my mind I can make things but then I get bored and so I make another thing and I move away. With her, I finish what I have started.”
This is not to say that they don’t appreciate the difficulties involved in being in love with the person you are dancing with. Osipova continued to dance with Vasiliev after they broke up but is discreet about what went wrong, other than to say there is no comparison between the relationship with him and the one with Polunin. “I have closed that door and this is a new page of my life and it is great.”
She comes from a close family, and sees her parents as much as she can; they travel to London from Moscow to watch her first nights. “My mum was a bit apprehensive when I started going out with Sergei,” she admits. “But now she just loves him to bits and she is on his side all the time when we argue.” Polunin, who was born in Kherson in Ukraine, had been semi-estranged from his mother all the time he was in London. She had never seen him dance in the flesh from the moment he left for England in 2003 till a decade later when he finally let her come from her home in Kiev to watch a performance in Moscow. A thaw in relations has set in. “I get on with his mum so well,” Osipova says. “We have spent time with our families together and it is good for our parents.”
When rumours first surfaced about their romance, cynics dismissed it as a publicity stunt, a boost for their careers. In fact, the opposite appears to be true. Osipova explains: “When we started going out together, people thought I had gone off the rails. Everybody started to give me advice. But I have always done what I have wanted. And if my heart tells me this is the way I should do it, then I do it this way.”
They plan to live together in London and then find ways they can dance together. “Dancing separately means you are in separate lines of life,” Polunin explains carefully. “It is more about being together.” It is his intention to dance only with Osipova. “I don’t love dance enough just to dance. I am prioritising dancing with her. It’s nice because you have a purpose there when you care about someone.”

A week later, in choreographer Russell Maliphant’s north London studio – “colder than Siberia,” they joke – they are working on one of their first shared projects. Over and over again, Polunin lifts Osipova, treating her will-o’-the-wisp lightness as if it were blown glass, gently setting her down. Repeatedly she curls her body over his, finding different ways to fall down his back. It is part of a programme of contemporary dance that Osipova will star in at Sadler’s Wells, also including work by Sidi Larbi Cherkaoui and a piece by Arthur Pita.
Today it is Osipova who looks tired. She was injured at the end of last year and had a break, which she describes as “a holiday for my soul”. Since her return to the stage in December, she has been frantically busy – another project is Strapless, a new ballet about John Singer Sargent’s painting Madame X, by Christopher Wheeldon, which has just premiered at the Royal Opera House. Polunin is full of plans to create a new management company for dancers that will enable them to operate free from ties to a particular company. His dreams of bringing ballet to a bigger audience through film begin with a documentary, due later this year.
“Natasha has changed me because of her focus,” says Polunin. “If it was not for her I would already be somewhere in America, travelling, doing what’s interesting without finishing what I was meant to do. So my love for her keeps me on track.” He means in dance. But the same could be said in life.

The world premiere of Sidi Larbi Cherkaoui/Russell Maliphant/Arthur Pita, starring Natalia Osipova, is at Sadler’s Wells, N1, from June 29 to July 2

https://sergeipolunin.wordpress.com/201 … -vogue-uk/

What happened to her former life partner/husband?

https://youtu.be/FLcSAJq_HSg   Sergei Polunin - Dancer Documentary Deleted Scene Video POPSUGAR Entertainment