A student of the Kyiv State Choreographic School, Sergei Polunin became the youngest premier in the history of the Royal Ballet of London. I didn’t like it in England - I returned to Russia, where it now soars to the ceiling of the Stanislavsky and Nemirovich-Danchenko Theater.

Due to the fact that Polunin’s entire childhood was devoted to ballet, and this, as we know, is the hardest work, he did not grow up as a very sociable boy. Sergei himself says that it is his isolation that allows him to best convey the feelings of romantic and lonely characters on stage. This is also facilitated by the extraordinary appearance of our hero.

The personal life of Sergei Polunin is closely connected with ballet - it is probably impossible otherwise, because every premier literally lives in the theater, completely devoting himself to his favorite work. But this is not the only reason why representatives of this art try to stick together... When Sergei lived in London, he dated ballerina from the Royal Ballet Helen Crawford, but the time came to leave for Russia, and he decided to break up with the girl. The dancer himself says that he is attracted exclusively to ballerinas: “You get used to the ballet standard. And all the other women seem strange - there are not enough muscles here and there.”

Now Polunin lives in a small apartment in the center of Moscow, next to the theater; it is unknown whether he is alone or not. He does not like to talk about his personal life, and yet he does not hide the fact that things are not very good with this. In an interview with Mickey Rourke for Interview magazine, Sergei noted, not without irony: “I don’t have a very good reputation, so it’s difficult with girls.”

– Is it true that you want to leave ballet at twenty-six or twenty-seven?

- I don't know yet. Although twenty-six, in my opinion, is a good number. I only know that you should go on stage only when you feel an explosion of adrenaline in your blood. That’s why I can’t stand rehearsing and warming up for a long time. Everything should be like the first time, when some surprise awaits you, when you don’t know what will happen in the next minute and how it will all end. Only then do I enjoy being on stage.

Otherwise, what's the point in all this?

- Fame, success, money...

– Freedom is more valuable.

Well, I can’t stop looking at it, sorry!)))

Updated 02/03/15 21:32:

At the request of Anitra - an excerpt from the ballet "Giselle". He's really wonderful!)

P.S. I still haven’t found any information about growth :(

Updated 02/03/15 21:34:

And of course, Take me to church!)

Have a nice evening everyone! :)

Based on materials from snob.ru, dog.ru

The British press nicknamed Sergei Polunin a “bad guy.” Representatives Russian newspapers gossip about the personal life of an outspoken rebel. And the dancer himself, who by the age of 28 managed to achieve heights in one art form and began to master a new genre for himself, is simply looking for his own place in the world.

Childhood and youth

On November 20, 1989, in the city of Kherson, a joyful event occurred in the Polunin family. A boy was born, whom the happy parents named Sergei. Already at the age of 3, the child was sent to a gymnastics school, where the teacher immediately appreciated both the child’s plasticity and keen ear for music.

After 5 years, Sergei’s family decided to transfer their son to a choreographic school. A couple of months after the transfer, Polunin was already recognized best student. The boy's first ballet classes did not arouse interest. In later interviews, Sergei admitted that he dreamed of getting injured so as not to dance anymore.

At the age of 8, the boy was transferred to a choreographic school in Kyiv. Galina Polunina also leaves Kherson with her son. To pay for his child’s education and life in the capital of Ukraine, Vladimir Polunin leaves for construction in Portugal, and the boy’s grandmother gets a job as a nurse.

The labors of adults were not in vain. At the age of 13, the young Ukrainian dancer takes a prize in the International Serge Lifar Competition. A year later, Sergei moved to London to continue his studies at the Royal Ballet School. The teenager went to the UK alone.

In a new country, the aspiring dancer still did not allow himself to slow down. In 2006, the artist reached the final international competition"Prize of Lausanne". Success and perseverance young man appreciated. At the age of 17, Sergei Polunin officially joined the ballet troupe of the Royal Theater in Covent Garden.

Ballet

It would seem that the dream that Polunin had strived for since childhood had come true. But once he sets himself the goal of becoming the best in dance, Sergey does not stop there. At 19, a ballet dancer is appointed to the main roles in productions. A hardworking boy from Ukraine becomes prime minister famous theater, and the youngest in the entire history of the troupe. With a height of 180 cm, the 65-kilogram dancer easily soars into the air, seemingly defying the law of gravity.

Such a brilliant biography takes a sharp turn in 2011. During the next rehearsal, Sergei leaves the dance hall and never returns to the walls of the Royal Theater. Newspaper headlines express theories about the dancer’s unstable psyche and prohibited substances, the use of which Sergei did not hide.

The truth turned out to be more complicated. The artist’s decision to leave the theater had been brewing for a long time. Therefore, in Polunin’s eyes there was no surprise in the outburst. The young man is tired of the routine and injustice that ballet representatives feel every day.

There was a lull in the dancer’s career and personal life. But not in creativity. The reclusive man, who devoted a lot of time to ballet, becomes close friends with former gangster Anthony Lammin.

The dancer and the criminal were united by their love of drawings on the body. For Polunin, tattoos are also a kind of art. Therefore, the artist happily helps a friend open a salon on the outskirts of London and, together with Anthony, is developing the business.

At some point, Sergei decided that he had finished his career, but in 2012 the man came to Moscow. Polunin was prompted to move to Russia by his desire to perform on stage. Bolshoi Theater. The talent and perseverance of the young man instantly attracted the attention of Igor Zelensky, the artistic director of the theater.

Without delays or lengthy approvals, Sergei takes the place of the premier at the Bolshoi, while simultaneously performing on the stage of the Opera and Ballet Theater in Novosibirsk. Two years later, when the novelty of the sensations had worn off, the artist again set off on a free voyage, replacing the place of the main dancer with the role of a guest star.

Sergei Polunin in the Dior Homme advertisement

In search of new inspiration, Polunin agrees to take part in the filming of Hozier's "Take Me to Church" video, directed by David LaChapelle. The commercial was followed by an ad for Dior Homme directed by Bruce Weber.

The work in front of the camera impressed the artist so much that Sergei moved to Hollywood. Polunin set himself a new goal - to become a sought-after actor. The first works in a new field, like everything an artist does, are distinguished by their scale. In 2016, the documentary film “Dancer” was released, telling about the life of a man with youth.

Trailer for the film about Sergei Polunin “Dancer”

Polunin wanted to place special emphasis on the little viewer. Sergei believes that with the popularization of this art form, ballet will become more democratic.

In 2017, the artist made his debut in feature film. In the film, the man played the role of Count Andreni. The artist admitted that he was worried about his lack of experience, so he spent his free time carefully studying the work of his colleagues -, and.

Despite his new hobby, the artist does not say goodbye to dance art finally. Since 2016, the dancer has held the position of guest soloist at the Bavarian Ballet.

In parallel with the release of the detective story, the world premiere of “Project Polunin” took place, where Sergei acted as a choreographer. The first performance took place on March 14, 2017 and included several excerpts from famous productions: “Icarus. The Night Before Flight" and "Narcissus and Echo".

Personal life

Sergei Polunin often expresses his own emotional attachment with the help of tattoos. On the artist’s back is the inscription “Sorry, Tiger Cub,” dedicated to the dancer’s unknown lover. The tattoo is decorated with scars that imitate scratches. By the way, Polunin inflicted the cuts on himself.

It is known for certain about the rebel’s romance with the ballerina Helen Crawford. The couple spent two years together, but after the girl’s announcement about having children together, Sergei ended the relationship. A year later, the man began to often appear in public with another ballet representative, Yulia Stolyarchuk. True, no evidence of a romantic relationship between the artists was found.

The artist dedicated the “Natasha” tattoo on his hand. The young people met in 2015 at rehearsals for Giselle. The leading role was assigned to ballet dancer David Hallberg, but the man was seriously injured. the main role went to Sergei, and during long rehearsals feelings arose between the dancers.

Sergei Polunin now

In an interview for Vogue magazine, Sergei admitted that he dreams of making a film about a dancer who can no longer perform. The man thinks that the psychological state of such a person will be interesting to the viewer.

Sergei Polunin in Vogue magazine. Source - Vogue official website

The artist plans to create a charitable foundation to help talented children. Now the man is thinking about creating his own dance school. In the meantime, fans of the talented dancer are waiting for the onset of May 2018 - the premiere of the spy action film “Red Sparrow” will take place in Russian cinemas, in which Polunin performed minor role.

Sergei does not talk about what is happening in his personal life. In May 2017, the press was flooded with rumors that the beautiful couple Polunin-Osipova had broken up. Journalists spread the news that the ballerina left the aspiring actor for an unknown conductor. But in the latest photos on Polunin’s official account, the couple poses together on the red carpet.

Parties

• 2011 – “Alice in Wonderland”
• 2012 – “Don Quixote”
• 2013 – “Badeyarka”
• 2013 – “Mayerling”
• 2013 – “Waking of a Faun”
• 2014 – “Manon”
• 2014 – “Spartak”
• 2015 – “Giselle”
• 2015 – “Ballets of Frederick Ashton”
• 2017 – “The Taming of the Shrew”

Sergei Polunin is a Ukrainian dancer, ballet dancer and actor who blew up social photos with a Putin tattoo on his chest.

Biography of Sergei Polunin

Polunin was born in Kherson on November 20, 1989. The future star of the London ballet began dancing at the age of 4 at a local sports school. When Sergei turned 9, his family moved to Kyiv, where the boy entered the Kiev State Choreographic School.

At 13, he entered the Rudolf Nureyev Foundation support program and went to London, continuing his studies at the Royal Ballet School. Four years later, Polunin received a place at the Royal Ballet of London, and two years later became its youngest principal.

Around this time, the artist began to have problems with drugs. According to him, it is because of them that he decides to quit the London ballet. At that time, Polunin was actively engaged in self-harm, cutting figures into his skin with a blade, which he later repeatedly spoke about in his interviews.

The decision to leave ballet was spontaneous. According to the artist, he went to the rehearsal without even realizing that it was his last day at work, and made the decision in the locker room.

Such behavior led to the fact that the doors of most theaters in the world were slammed in front of Polunin, and in 2012 he moved to Moscow, which offered him the position of the premiere of the theater. Stanislavsky - Nemirovich-Danchenko.

Personal life of Sergei Polunin

Despite his problems with drugs and his complex character, Polunin’s personal life looks duller than one might expect. In London, the ballet dancer was dating a colleague who was 9 years older than him. The couple was together for a little over 2 years, but after Polunin moved to Moscow, the relationship came to an end.

The ballerina again became the artist’s new chosen one. Sergei Polunin met Natalya Osipova at a rehearsal of “Giselle” at La Scala. Soon a tattoo appeared on the dancer’s hand with the name of his chosen one, inscribed directly above the Ukrainian coat of arms.

Polunin's film career

According to Sergei Polunin, he wanted to become an actor since childhood, so he willingly accepted any offers to participate in filming. A turning point in the dancer’s acting career was the filming of the Irish singer Hozier’s video for the song Take Me to the Church in 2015. Both the song itself and the video with Polunin topped the charts in dozens of countries for weeks.

Immediately after this, the young artist was showered with the most generous offers. Hollywood producers liked the talented ballet dancer, so by 2018, Polunin’s filmography was replenished with roles in “Murder on the Orient Express,” “Red Sparrow,” “The Nutcracker” and the biopic “Dancer.” On the set, Polunin met Johnny Depp, Michelle Pfeiffer, Keira Knightley and Jennifer Lawrence.

Polunin's attitude towards Russia and Ukraine

Polunin was associated with Ukraine only for the first 13 years of his life and a coat of arms tattoo on his left hand. But the artist’s relationship with Russia is much warmer. In his early interviews, the dancer claimed that the decision to move to Moscow was forced. Having refused a place at the Royal Ballet of London, Polunin acquired a reputation as an unreliable person, which is why he was unable to get a job in a theater in New York. The only big stage in the world of ballet that left its doors open was Moscow.

In the first years of his new Russian life, Polunin complained about poor treatment of dancers and little support. To be fair, it is worth noting that Polunin was also not satisfied with the prime minister’s salary in London. In one of his interviews, he claimed that the dancers of the Royal Ballet have nothing to go to a restaurant, and he, with his 2.5 thousand pounds of income, is not able to even afford a car. But in another interview, Polunin talked about a two-level apartment in central London with “50-inch plasma”, which was provided to him by the Royal Ballet, and also shared plans to buy his own home in the UK and obtain a British passport. The Moscow apartment, which, according to Polunin, was allocated to him by the theater, did not even have a microwave.

Polunin and Putin: where did the tattoo come from?

However, everyday troubles did not prevent the 23-year-old dancer from merging with Moscow a little more than completely. In 2012, Polunin tattooed the coat of arms of Russia on his hand, but after the annexation of Crimea and the attack on Donbass, he began to remove this tattoo. In 2014, as a sign of support for Ukraine, its coat of arms appears on the artist’s other hand.

In the period from 2014 to 2018, Polunin remains the premier of the Moscow theater, but tries to stay away from political life countries. The turning point comes in 2018, when the dancer performs in Crimea in front of Vladimir Putin, who arrived there. The general photos show that a new tattoo has appeared on the artist’s chest, but it is almost impossible to discern the details of the design.

In November, Sergei Polunin publishes a post in which he thanks subscribers for their birthday greetings and promises to “direct everything good wishes Vladimir [Putin]." According to the artist, to the Russian President they are treated unfairly and that is wrong. The post is accompanied by a photo of the head of the Russian Federation.

The next day, Polunin publishes another post, this time with a Putin tattoo on his chest and his hand with an inked Ukrainian trident. And as if this were not enough, a day later a third photo appears in the artist’s feed - a new photo of a tattoo with Putin and a hand with a half-folded Russian coat of arms.

At the end of November, Polunin finally “finishes off” the audience by publishing a photo of a Russian passport. According to him, Russia has always been “good” for him, and he is glad to become its citizen.

Polunin does not comment on the sudden surge of love for Russia. To many, the dancer’s behavior seems strange - his acting career is on the rise, but outpourings of love towards the disgraced president could put an end to this. For an artist whose ballet career will come to an end in a few years, this is comparable to a shot in the leg - Russian cinema will not be able to offer him even a tenth of what Hollywood gives, and the latter may not be scrupulous in choosing his favorites, but take risks box office receipts for the sake of “Putin” may not want to.

Polunin himself has so far refrained from making new political statements.

At the age of 19, he was the youngest premier of the English Royal Ballet; at 22, he left the famous troupe and moved to the Moscow Stanislavsky and Nemirovich-Danchenko Theater. At 25, he left this theater and set off on a free flight, becoming more and more interested in cinema rather than ballet, which does not prevent him from gathering fans from all over the world for now rare performances, either in Novosibirsk or in Munich. Now he is 27; in the next two years, three Hollywood films with his participation will be released, where he plays small but important roles. "Dancer" is a close look at how talented person becomes a ballet superstar and how cramped he becomes in the theater. The truth about ballet as it is. I talked with the main character about working in cinema, problems in the theater and improvisation in life.

"Lenta.ru": The film is called "Dancer". Just "Dancer", no name. Is that Sergei Polunin we see on the screen you or is he a character in a work of fiction?

Polunin: This, of course, is how the director and producer see me. And I didn’t want to impose my own view; I didn’t participate, for example, in editing the film. I was interested in this: how do people from the outside see me? And when I watched “Dancer” in its entirety... The story turned out to be true. I saw a lot of things as if for the first time: I didn’t know that there were any children’s recordings or footage from when I was little. You forget some moments of childhood - you don’t want to remember them. And when I was watching, sitting in a chair, I grabbed someone’s leg next to me, because I began to emotionally relive certain moments. Therefore, I cannot assess from a detached perspective whether I really am the way other people see me.

You world star in ballet, but on screen you are a debutant. How comfortable are you in the world of cinema?

I feel comfortable being with the camera, I come alive when the camera is present. At first it was very unusual and not that scary, but... you know, such a strange feeling - you sit and think, should you be here at all? When legendary actors are nearby... I have a poster of the film “Scarface” hanging at home with, and on the set of “Murder on the Orient Express” (the new version of the detective story will be released in November 2017 - approx. "Tapes.ru") I suddenly discover that she is sitting next to me, and opposite - ! But I quickly adapted. I had to learn everything - literally how to hold a glass while the camera passes by - but I watched my colleagues and learned from them. And I used the same method that I used in ballet - after all, on stage I never think through a part in detail. I go on stage and act on my intuition. Yes, if you are a prince, you will not stupidly run around the stage - the position obliges you, but some details depend on your mood. How your partner will look at you, how he will approach you - you build on this. I acted the same way in films. I came to the set not knowing what would be filmed that day, where you would end up - maybe at the train station? In "Murder on the Orient Express" - Turkey, the 30s of the twentieth century, and I tried to just feel the atmosphere in which I was. And I did everything unprepared and intuitively, because I simply did not know how to prepare. From the very beginning - from the audition for the role, it was my first audition in my life. The situation was not like “we want you specifically,” but people needed to understand whether I could even talk on camera. It was very difficult for self-esteem.

In recent films, when talking about ballet, the theme of intrigue and problems in the theater is often heard. How present was this in your life?

I try to avoid gossip and intrigue. I just physically feel bad when some whispers start. The people in the theater are very good, bright, but yes - there is a lot of negativity, and it arises due to the fact that everyone is fighting for one role. 150 or 200 people are being targeted for the same position, at any moment you can be given a role and the role taken away - in such a situation it is difficult for everyone, both the artists and the directors of the troupe. It turns out not to be teamwork, but every man for himself. Therefore, I would like ballet to be like opera in Europe: for each performance they assemble a cast of artists, each with their own contract. Do the same in ballet - for example, in “Giselle”, write down for everyone who will play what role, who is the count, who is the peasant. So that everyone knows everything. This is how they do it in the opera, this is how they do it in the movies - and only in the ballet is it some kind of porridge.

When you were on the staff of the Stanislavsky and Nemirovich-Danchenko Theater, your colleagues often said that they did not see you in the rehearsal rooms. Do you really go on stage without rehearsing?

I don’t rehearse, but I practice at the barre, I do a class every day. That is, I didn’t have a situation where I missed a day without working out. But repeating the same role is so boring. I go out for my solo and dance it differently every time - the audience sees it for the first time, and for me this solo becomes a surprise. I can sometimes go a year and a half or two years without remembering a role, and then just go on stage and think: will it work out or won’t it work out? This fuels my interest in the stage. I'm probably lucky: my body remembers things well. If I have learned something, I don’t need to repeat it to reproduce it. So I just listen to my body. I was wrong about one thing, of course: I didn’t take into account how my partner liked to work. That is, I thought: if I don’t need to repeat it, then she doesn’t need it either. It was a mistake.

In the cinema without preparation, in the theater without rehearsals, and in general life as such - is for you some kind of well-built plan or is it always improvisation?

I think it's better to improvise. It is more correct to trust life, to trust the cosmos, which will give you a way and the right people. And I believe that if you trust life, then it cannot be that it will not guide you right moment. There is no need to think through everything in advance - I don’t understand people whose schedule is planned three years in advance. You leave life no chance to surprise you. And I don’t know where I’ll be in four days. Tibet has the same worldview: live - and life itself will give you the right opportunities.

A few months ago it was announced that you were returning to the Royal Ballet in June, but you have just pulled out of those appearances. Balletomanes in London are simply crying. Why does this happen - why do you refuse already promised performances?

It's not about why I refuse. The problem is why I agree. That's the mistake. When you start thinking with your head and not with your heart, when you don’t listen to yourself, you suddenly agree to certain things. And the closer the event is, the better you feel that this is not worth doing. And a moment arises when neither your conscience nor your heart allows you to do something, but your head gave its consent six months ago. I made a promise to myself from now on to always listen to what my heart says and to always trust my intuition and not wonder whether it will be good or bad. Then such situations will not arise.

Your mini-ballet Take Me To Church has been viewed by over 19 million people on YouTube. Are you going to continue working on these kinds of short stories for the internet?

Yes, we are trying to find the right approach, and there is interesting ideas, I want to implement one of them in Russia. But I want it to be natural, because there was a proposal to do a series with a major label, take some songs, and stage dances on them in sequence. But when the sequence is given, this is no longer art, I would not want to work like that. The situation should develop naturally.

“We are trying”... Who is “we”?

My team with whom I made Project Polunin in London in March: producer Gabriel Tana, lawyer David Banks, who handles all the paperwork, my assistant, who is not just an assistant, she does everything that is necessary - she searches the right people, For example. And my friends, whom you see in the film “Dancer,” are also part of the project. I am gathering a group of people who love dance and want to promote it, who will study not only me, but also other dancers. I want to create my own foundation to promote dance, to make films about dance, to film ballets - like, for example, but not as a broadcast of a performance, but as a film. I am looking for funds and helpers for this matter. The artistic director of the Bavarian Opera Ballet helps me a lot - he is a bright man, he is like a father to many dancers and really loves dance.

Now “The Dancer” is coming out, where we can see you dancing, then there will be other films that have nothing to do with ballet. Is there a chance to see you in the theater?

Yes, around next spring. We will collaborate with director Grigory Dobrygin. I recently went to a performance about Brodsky and this is what I realized: yes, ballet is energetically a very powerful thing, but drama is something more personal, more intimate. At the same time, in London at the ballet sometimes the ovation lasts 40 minutes, and in drama theater The artists took one bow and then went their separate ways. But when drama and ballet are combined, it can become a very powerful mixture. I want to try something like this. In a small space - theater and dance.

Sergei Vladimirovich Polunin is a Ukrainian ballet dancer, actor and fashion model. IN different time he participated in projects of the Novosibirsk Opera and Ballet Theater, Moscow musical theater, Royal Ballet, has been a principal dancer with the Bavarian Ballet since 2016. In 2017, he starred in the Hollywood film “Murder on the Orient Express.”

Childhood

Sergei was born in the southern Ukrainian city of Kherson, picturesquely located on the right bank of the Dnieper.

At the age of 3, at the encouragement of his parents, he joined the gymnastics section of a local sports school. Three years later, it became clear that in addition to excellent physical characteristics, the boy was endowed with an absolute ear for music and unique plasticity. It was decided to transfer him to a choreographic school, where in a matter of months he became the best student.

The parents saw that their child had every chance of becoming an outstanding dancer, so they sent eight-year-old Seryozha to the Kiev Choreographic School. His mother left with him, and his father was forced to work at a construction site in Portugal to provide his wife and son with everything they needed.

Ballet took up almost all the boy’s time and energy, so he never learned to get along with his peers. However, isolation and a certain detachment always helped him better convey the feelings of romantics and loners.

First steps to glory

In 2002, Sergei became a prize-winner at a prestigious international ballet competition, and a year later, thanks to the Rudolf Nureyev Foundation, he was enrolled in the Royal Ballet School in London.

Ballet is for the soul. Something good happens inside a person when he sees a dance.

Four years later, he became a finalist in the international competition “Prix of Lausanne”, and at the age of 17 he joined the Covent Garden ballet troupe. Two years later, Polunin was entrusted with performing the main roles, and he became the youngest premier in the entire history of this illustrious troupe.

And perhaps the most scandalous. His shocking behavior was discussed no less than his outstanding abilities. Sergei decorated his body with numerous tattoos, periodically drank himself into unconsciousness, and indulged in cocaine, for which he earned the nickname “enfant terrible of Russian ballet.” Although at the beginning of 2017 he admitted to journalists that he no longer drinks or uses illegal drugs, and every morning begins with hard work at the ballet barre.

Further career

In 2012, the young dancer made an unexpected decision - to move to Russia. He dreamed of being on the stage of the Bolshoi Theater and was sure that it was in his homeland that his talent would be able to fully reveal itself. Igor Zelensky, artistic director of the Stanislavsky Theater, took the “patronage” of the young artist. He immediately recognized a unique talent in the shocking young man and made him the premiere of his theater. During this period, Sergei also performed at the Novosibirsk Opera and Ballet Theater as a guest soloist.

Sergei Polunin starred in the video “Take Me to Church” by Hozier

In 2014, Sergei starred in the video “Take Me to Church” by the Irish artist Hozier. This track created a sensation in musical world, received tens of millions of views on YouTube and won a lot of prestigious awards. Filming in Hawaii made an indelible impression on the exalted young man, and he decided to gradually move away from ballet and switch to cinema.

“Dancer” - trailer for the film about Sergei Polunin

In 2016, the film “Dancer” was released on world screens, telling the story of the amazing success of Sergei Polunin, the difficult path to fame and world fame and the mental torment that tears apart his contradictory nature.

Personal life of Sergei Polunin

The artist's personal life is as turbulent and unpredictable as his career. His first serious love interest was London ballet dancer Helen Crawford. She was nine years older than her chosen one and was ready to start a family and children. However, the ardent young lover was not satisfied with this prospect, and they soon separated.

Then Polunin repeatedly appeared in the company of the young ballerina Yulia Stolyarchuk, and after a while fans noticed the “Natasha” tattoo on his arm. Sergei dedicated it to the ballerina Natalya Osipova, whom he met at the La Scala Theater during a rehearsal of “Giselle.” Soon their relationship grew from a partnership into a love affair, and the artists stopped hiding their romance.

Sergei Polunin now

In the fall of 2017, the premiere of the film “Murder on the Orient Express” starring Johnny Depp, Penelope Cruz and Michelle Pfeiffer took place.

Polunin in this film appeared in the image of Count Andreni. The main difficulty, the artist noted, was gaining confidence - at first he could not believe where and in the company of what people he was. However, the young man managed not to lose control of his emotions and did an excellent job with his task, not without the help of director Kenneth Branagh.

At the same time, Sergei was filming the spy thriller Red Sparrow with Jennifer Lawrence, which will be released in the spring of 2018.

Evening Urgant. Visiting Ivan Sergei Polunin

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