Как уверенно Сергей идет к своей цели - созданию нового балета, созданию творческих коллективов нового типа и новаторских необычных спектаклей! От все души желаю ему и его товарищам успеха. И очень бы хотелось прочитать сказку Росса!
Sergei Polunin: I would like to thank Laura for trusting us because she had to leave the Mariinsky Theatre to take part in this project. Unfortunately, her jobs didn’t allow her to participate in the project, and she was brave enough to quit. She trusts us, and it is a great responsibility for us and personally for me because she decided to leave the theatre to take part in the Little Red and the Wolf. I feel it and will her Laura in everything. I hope Laura will be more roles in the future. Johan Kobborg Kirill Richter: I would like to thank the entire team for this incredible project. I lot of work has carried out to create libretto. Besides the technical libretto which was made especially for the stage design, the composer and the decorations, Ross has written a whole book, a fairy-tale and put into it his feeling, emotions and thoughts about the characters. As far as I know Ross is planning to publish this story. It inspires me a lot too because some episodes which gets only a minute of music reveals very subtle shades of feelings. Some of these episodes are three pages long. It is very important because when you create music you need to know how the choreographer perceives the characters, what he wants to say with this story. As for my part and my inspiration, all this quite simple. As it is a family story and there will be a lot of children among the audience, I was inspired by my ideas and works which I created when I was 10-12 years old. At that moment everything I loved medieval and early renaissance music a lot. Any fairy-tale has folk origins. Charles Perrot was very likely to have gathered information from folk sources, but it is always a mix of versions. In my music I also use partly European folk tunes which existed in the Middle ages and in Early Renaissance because folk music is the most sincere being at the same time simple and touching. And a few words about the team. We have already created several works with Sergei. Among them is Rasputin, the biggest project of this year. It is always a great pleasure to work with Sergei. I feel I am trusted in everything, I feel and understand I do my work. Music as well as Sergei and his team inspire me. It’s a great feeling when the choreographer trusts you in all respects. We communicate a lot, for example I send Ross a piano score, and they immediately send me a video of a dance from rehearsals. It inspires a lot and it is very important because you can see what should be changed, what can be made more convenient for dancers, what can be emphasized and what orchestration added. Johan and Laura are amazing dancers, and the corps-de-ballet was cast for a good reason. As a musician I can say that Zaryadye is a great hall with perfect acoustics. It is very interesting to see how ballet what ballet will look like in this hall because now, unlike Sacre, there is a large team with decorations. And a little secret: there will be musicians on the stage among the characters. They will perform the roles of folk musicians who live in this village. There will be a Celtic harp, a medieval tamtam and a traditional fiddle. I consider it to be quite a fresh idea. Dmitriy Loginov, a costume designer: The key word for this project for me is the word choice. There is a lot about the characters’ choices in this fairy-tale. I assume that for the children who will watch it, this fairy-tale will be not only beautiful, but also educational. I have my own style in costumes which I of course will try to implement in this production. Kirill Chelushkin, designer: I would like to say that libretto looks so original that it has almost nothing to do with the soured text. Dramatic events unfold there which are based on a classical love triangle. The text allows to make rather complicated interpretations of it. Retelling all that using the language of dance is an undertaking. My task is quite simple. Like in the case of books, I work with texts. My task is to create a visual part of the text and something else because a lot is not said in the text, something we will need to interpret, e.g. relations if the little red and the wolf, relations of the little red and the woodsman. Bloody events occur there, but there is no blood. Actually it is horror, but without anything horrible. Everything come to a murder, but nobody is killed. Why? Even the source text requires it. What unites these people? It is a fairy-tale, but the libretto is far from being fairy. If I had read this libretto first, I would not have recognized the French source in it. - Sergei, are there any age restrictions for this ballet? Sergei Polunin: The original fairy-tale that Ross wrote was definitely not for children, but I think it is a crime to create a fairy-tale that cannot be watched by children. Ross was given the task to change it so that both little children and adults could watch this fairy-tale. There will be snow, beautiful decorations and smoke in this performance. Without reading the libretto they will not understand some deep and dark shades that will be clear to grown-ups. At the same time, it will be interesting for adults, not just a childish tale, a wolf with ears and balloons. The advantage of a ballet is that there are no words in it, nothing that can offend. The contents can be understood in different ways.
Дорогой Сергей, если вы читаете наши комментарии, пожалуйста, подумайте о тех, кто не может прийти на ваши спектакли. Вы как-то сказали, что могли бы выпускать их на DVD. Я уверена, у вас не было бы недостатка в покупателях.
Спасибо за видио ,хочется пожелать команде Полунина удачи , пусть задуманное получится и никто не сможет испортить и ещё те люди которые не знают куда бы вложить свои деньги вот удобный случай
Сергей, ты необыкновенный человек, у тебя сложится блестящее будущее и все твои грандиозные планы воплотятся именно в связке с Россией, поверь ) ! Удачи и больших успехов!
TASS press-conference about the world premiere of the ballet Little Red and the Wolf, Moscow, December 5th, 2019 Sergei Polunin: I’d like to thank all the participants who helped to arrange this project. It’s a challenging work, but rather interesting. We are creating a platform for collaboration of artists. I’d like to say that it is the first project of the Sergei Polunin Charity Fund, and this also a project of our producing company though it is not the first by Poluninink. I want to express my greatest thanks to Olga Zhukova (chief manager of Zaryadye Concert Hall) who suggested this project to me. She asked me if I had plans of staging a fairy-tale. Of course, fairy-tales are interesting, they help us to get back to our childhood. Creating something for children is of the biggest importance for me. I’d like to ask Olga Zhukova to say something about it. Olga Zhukova: Sergei is quite tight. We met in February when Sacre was performed in Zaryadye for the first time. He chose our concert hall, and of course I was very happy about this fact. And indeed after that I approached him and suggested this idea. You know, sometimes dreams come true and everything worked out well. To tell the truth we didn’t expect it to happen this year. And the fact that it is happening almost at the new year time is a sing it was meant to be. This ballet will be performed in out concert hall on December 29th and 30th. I’d like to thank the Department of Culture of the Moscow government which provided financial support of this global collaborative project. We are a young concert hall and have been working only for a year and a half. Ballet was performed there for the first time when Sergei appeared in Zaryadye. It was the first full-length ballet project, and now we are trying to show more ballets and are glad to do it. Our hall was designed for performing classical music, it is not quite suitable for ballets unlike theatres. We don’t have curtains, our stage is a round shaped amphitheater, and people sit around it. I suppose all that attracts ballet dancers a lot, but at the same time working with this stage poses certain difficulties to stage designer and artists. They need to think hard how to and where to put decorations because the hall is so unusual. - Why did you decide to stage Little Red and the Wolf? We all know this fairy-tale pretty well, but I suppose we will see a new and unusual version of this piece of fiction. And please tell us a little about your team. Sergei Polunin: Well, what should begin with. First of all, it is not my idea. I am just the person who connects people. Knowing the date and the venue I got the opportunity to do it. I stated looking for the artists who could stage a fairy-tale in quite limited time. And I am trying to be on top of things. It happened so that Ross wanted to stage a fairy-tale at that time and he was thinking about Little Red and the Wolf. It is his project, he wrote it, and I would be glad to let him talk explain it. Ross is very young and talented, he studied at the Royal School of Ballet like me. My mission is just to provide people opportunities to express themselves. Ross Freddie Ray Sergei Polunin: The plot was created by Ross, he wrote it. - Please tell us about your role. Sergei Polunin: My role is the one of a woodsman. Perhaps it is not so salient in the fairy-tale. This is the man who lost his wife, and everybody thinks he killed her. This is my character in brief. Laura: It’s the first project of this kind for me. At the Mariinsky Theatre I only had classical roles. I have never dance such a role, with so many feelings and emotions, love and fear. The little red fell in love and didn’t know whom to choose, and finally she chose the wolf doing everything wrong. Such situations happen in life too when you are making a wrong choice and see your mistake later. But there will be a happy end. And I also have a great partner, Sergei. He helps me a lot. It is difficult for me to shift from classical ballet, I need to try new things. In classical I ballet I always knew what I was dancing, what steps to do, I was given prompts. Here I need to try a lot myself, to see what I can do in a different manner. I am lucky having Sergei who helps me with it. It is also very interesting for me to work with Ross who is serious but we joke too. The atmosphere is great at our rehearsals.
Журналист в белом рубашку иронизирует зря сценарий постановки при 34'34", потому что ему нужно было перед этим понять что смысл современного танца заключается в создании контакт с чувствами героев которые формируют воображений и событий и язык . Это очень тяжёлый и истощительный труд для танцовщиц. Но это даёт нам шанс остаться людей! Поздравляю команду Сергея!🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹 Постаралась писать на русском 😉Извините мои ошибки ☺️
Сергей, здравствуйте, предложите Игорю Яковлевичу и Димашу совместную работу, было бы шикарно, хотелось бы видеть на одной сцены великих людей, поклонников балета приумножилось бы
Прошло ннесколько лет после примьеры Красной Шапочки в Зарядье... И несмотря на востребованность детких спектаклей по непонятной при чине и больших ожиданиях продолжения спектаклей не произошло,... Жаль,думаю аншлаг был бы обеспнчен.. При этом аудитория должна быть разновозрастная...
I mean thanks for not translating when the person talks wich makes it impossible to hear even of I can understand English. Now I am glad to understand so much for making me curius thanks for sharing 💓 love from Sweden
Как уверенно Сергей идет к своей цели - созданию нового балета, созданию творческих коллективов нового типа и новаторских необычных спектаклей! От все души желаю ему и его товарищам успеха. И очень бы хотелось прочитать сказку Росса!
Как они хороши эти балетные! Всегда в полете, парят! Недосягаемы! Все тянутся за этим духом высоким!
Сергей,ВыЧеловек-Калейдоскоп,фонтанирующий проектами,а не прожектами! УДАЧИ ВАМ С КОЛЛЕГАМИ ВО ВСЁМ!
Гулаг это отлично!
Сергей, успеха вашей команде!
Sergei Polunin: I would like to thank Laura for trusting us because she had to leave the Mariinsky Theatre to take part in this project. Unfortunately, her jobs didn’t allow her to participate in the project, and she was brave enough to quit. She trusts us, and it is a great responsibility for us and personally for me because she decided to leave the theatre to take part in the Little Red and the Wolf. I feel it and will her Laura in everything. I hope Laura will be more roles in the future.
Johan Kobborg
Kirill Richter: I would like to thank the entire team for this incredible project. I lot of work has carried out to create libretto. Besides the technical libretto which was made especially for the stage design, the composer and the decorations, Ross has written a whole book, a fairy-tale and put into it his feeling, emotions and thoughts about the characters. As far as I know Ross is planning to publish this story. It inspires me a lot too because some episodes which gets only a minute of music reveals very subtle shades of feelings. Some of these episodes are three pages long. It is very important because when you create music you need to know how the choreographer perceives the characters, what he wants to say with this story. As for my part and my inspiration, all this quite simple. As it is a family story and there will be a lot of children among the audience, I was inspired by my ideas and works which I created when I was 10-12 years old. At that moment everything I loved medieval and early renaissance music a lot. Any fairy-tale has folk origins. Charles Perrot was very likely to have gathered information from folk sources, but it is always a mix of versions. In my music I also use partly European folk tunes which existed in the Middle ages and in Early Renaissance because folk music is the most sincere being at the same time simple and touching. And a few words about the team. We have already created several works with Sergei. Among them is Rasputin, the biggest project of this year. It is always a great pleasure to work with Sergei. I feel I am trusted in everything, I feel and understand I do my work. Music as well as Sergei and his team inspire me. It’s a great feeling when the choreographer trusts you in all respects. We communicate a lot, for example I send Ross a piano score, and they immediately send me a video of a dance from rehearsals. It inspires a lot and it is very important because you can see what should be changed, what can be made more convenient for dancers, what can be emphasized and what orchestration added. Johan and Laura are amazing dancers, and the corps-de-ballet was cast for a good reason. As a musician I can say that Zaryadye is a great hall with perfect acoustics. It is very interesting to see how ballet what ballet will look like in this hall because now, unlike Sacre, there is a large team with decorations. And a little secret: there will be musicians on the stage among the characters. They will perform the roles of folk musicians who live in this village. There will be a Celtic harp, a medieval tamtam and a traditional fiddle. I consider it to be quite a fresh idea.
Dmitriy Loginov, a costume designer: The key word for this project for me is the word choice. There is a lot about the characters’ choices in this fairy-tale. I assume that for the children who will watch it, this fairy-tale will be not only beautiful, but also educational. I have my own style in costumes which I of course will try to implement in this production.
Kirill Chelushkin, designer: I would like to say that libretto looks so original that it has almost nothing to do with the soured text. Dramatic events unfold there which are based on a classical love triangle. The text allows to make rather complicated interpretations of it. Retelling all that using the language of dance is an undertaking. My task is quite simple. Like in the case of books, I work with texts. My task is to create a visual part of the text and something else because a lot is not said in the text, something we will need to interpret, e.g. relations if the little red and the wolf, relations of the little red and the woodsman. Bloody events occur there, but there is no blood. Actually it is horror, but without anything horrible. Everything come to a murder, but nobody is killed. Why? Even the source text requires it. What unites these people? It is a fairy-tale, but the libretto is far from being fairy. If I had read this libretto first, I would not have recognized the French source in it.
- Sergei, are there any age restrictions for this ballet?
Sergei Polunin: The original fairy-tale that Ross wrote was definitely not for children, but I think it is a crime to create a fairy-tale that cannot be watched by children. Ross was given the task to change it so that both little children and adults could watch this fairy-tale. There will be snow, beautiful decorations and smoke in this performance. Without reading the libretto they will not understand some deep and dark shades that will be clear to grown-ups. At the same time, it will be interesting for adults, not just a childish tale, a wolf with ears and balloons. The advantage of a ballet is that there are no words in it, nothing that can offend. The contents can be understood in different ways.
Ирина Мартынова Thanks
Ирина Мартынова ...thank you for translation!
Дорогой Сергей, если вы читаете наши комментарии, пожалуйста, подумайте о тех, кто не может прийти на ваши спектакли. Вы как-то сказали, что могли бы выпускать их на DVD. Я уверена, у вас не было бы недостатка в покупателях.
Сергей! Вы невероятный человек!!!!Удачи вам!!!!Пусть у вас все получится!😍😍😘😘❤❤❤❤❤❤❤❤❤
Спасибо за видио ,хочется пожелать команде Полунина удачи , пусть задуманное получится и никто не сможет испортить и ещё те люди которые не знают куда бы вложить свои деньги вот удобный случай
Спасибо что дали возможность проследить за творчеством Полунина в России.
Удачи тебе, Сергей! Все задуманное у тебя получится!!!
Удачи! Заинтриговали сюжетом: хоррор и сказка. Невероятно!
Сергей, ты необыкновенный человек, у тебя сложится блестящее будущее и все твои грандиозные планы воплотятся именно в связке с Россией, поверь ) ! Удачи и больших успехов!
TASS press-conference about the world premiere of the ballet Little Red and the Wolf,
Moscow, December 5th, 2019
Sergei Polunin: I’d like to thank all the participants who helped to arrange this project. It’s a challenging work, but rather interesting. We are creating a platform for collaboration of artists. I’d like to say that it is the first project of the Sergei Polunin Charity Fund, and this also a project of our producing company though it is not the first by Poluninink. I want to express my greatest thanks to Olga Zhukova (chief manager of Zaryadye Concert Hall) who suggested this project to me. She asked me if I had plans of staging a fairy-tale. Of course, fairy-tales are interesting, they help us to get back to our childhood. Creating something for children is of the biggest importance for me. I’d like to ask Olga Zhukova to say something about it.
Olga Zhukova: Sergei is quite tight. We met in February when Sacre was performed in Zaryadye for the first time. He chose our concert hall, and of course I was very happy about this fact. And indeed after that I approached him and suggested this idea. You know, sometimes dreams come true and everything worked out well. To tell the truth we didn’t expect it to happen this year. And the fact that it is happening almost at the new year time is a sing it was meant to be. This ballet will be performed in out concert hall on December 29th and 30th. I’d like to thank the Department of Culture of the Moscow government which provided financial support of this global collaborative project. We are a young concert hall and have been working only for a year and a half. Ballet was performed there for the first time when Sergei appeared in Zaryadye. It was the first full-length ballet project, and now we are trying to show more ballets and are glad to do it. Our hall was designed for performing classical music, it is not quite suitable for ballets unlike theatres. We don’t have curtains, our stage is a round shaped amphitheater, and people sit around it. I suppose all that attracts ballet dancers a lot, but at the same time working with this stage poses certain difficulties to stage designer and artists. They need to think hard how to and where to put decorations because the hall is so unusual.
- Why did you decide to stage Little Red and the Wolf? We all know this fairy-tale pretty well, but I suppose we will see a new and unusual version of this piece of fiction. And please tell us a little about your team.
Sergei Polunin: Well, what should begin with. First of all, it is not my idea. I am just the person who connects people. Knowing the date and the venue I got the opportunity to do it. I stated looking for the artists who could stage a fairy-tale in quite limited time. And I am trying to be on top of things. It happened so that Ross wanted to stage a fairy-tale at that time and he was thinking about Little Red and the Wolf. It is his project, he wrote it, and I would be glad to let him talk explain it. Ross is very young and talented, he studied at the Royal School of Ballet like me. My mission is just to provide people opportunities to express themselves.
Ross Freddie Ray
Sergei Polunin: The plot was created by Ross, he wrote it.
- Please tell us about your role.
Sergei Polunin: My role is the one of a woodsman. Perhaps it is not so salient in the fairy-tale. This is the man who lost his wife, and everybody thinks he killed her. This is my character in brief.
Laura: It’s the first project of this kind for me. At the Mariinsky Theatre I only had classical roles. I have never dance such a role, with so many feelings and emotions, love and fear. The little red fell in love and didn’t know whom to choose, and finally she chose the wolf doing everything wrong. Such situations happen in life too when you are making a wrong choice and see your mistake later. But there will be a happy end. And I also have a great partner, Sergei. He helps me a lot. It is difficult for me to shift from classical ballet, I need to try new things. In classical I ballet I always knew what I was dancing, what steps to do, I was given prompts. Here I need to try a lot myself, to see what I can do in a different manner. I am lucky having Sergei who helps me with it. It is also very interesting for me to work with Ross who is serious but we joke too. The atmosphere is great at our rehearsals.
@youtube give us english subtitels please by Sergei!!
Cool, serguei, great dancer and so beautifull !
Журналист в белом рубашку иронизирует зря сценарий постановки при 34'34", потому что ему нужно было перед этим понять что смысл современного танца заключается в создании контакт с чувствами героев которые формируют воображений и событий и язык . Это очень тяжёлый и истощительный труд для танцовщиц. Но это даёт нам шанс остаться людей! Поздравляю команду Сергея!🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹
Постаралась писать на русском 😉Извините мои ошибки ☺️
Please have subtitles.. thank you
wendy4ronpaul
Is on time to learn...Russian 😉
I have added a translation above)
Ирина Мартынова
У меня только русские титри получается...
@@biljanapapazovammann2972 Титры это не ко мне, да они только русские. Я просто в ссылках текст английский добавила
Сергей, браво! Любим!! Ждём в Санкт- Петербурге!
8:29 . My comment is nothing to do with this, but I always loved Peter and The Wolf. an all time great piece of music.
Санкт Петербург ждёт !❤️
Сергей, здравствуйте, предложите Игорю Яковлевичу и Димашу совместную работу, было бы шикарно, хотелось бы видеть на одной сцены великих людей, поклонников балета приумножилось бы
Cергей, ждём эпатажа и бури эмоций!
jo no compriendo nada,, ciao SERGEI,,,,,,,,,,,,,,,
Verdade, tb não entendi, mas parece que é uma entrevista para explicar o evento que estao fazendo ou fizeram.
Прошло ннесколько лет после примьеры Красной Шапочки в Зарядье... И несмотря на востребованность детких спектаклей по непонятной при чине и больших ожиданиях продолжения спектаклей не произошло,... Жаль,думаю аншлаг был бы обеспнчен.. При этом аудитория должна быть разновозрастная...
Por favor pongan subtítulos en inglés porque entiendo que en español sería casi imposible 😥
I have added a translation above
@@ИринаМартынова-с1х Thanks! 👍
Телвизионная версия на Россию к ,, старому,, НГ? слаБО?
Ну а ведущая...позор, грусно
Thanks for not translating when a person talks English ..!
I mean thanks for not translating when the person talks wich makes it impossible to hear even of I can understand English. Now I am glad to understand so much for making me curius thanks for sharing 💓 love from Sweden
Traitor!!!