A Quote by Sergei Polunin

It always felt as though there was a wall between me and contemporary dance. I didn't know how to get into it. — © Sergei Polunin
It always felt as though there was a wall between me and contemporary dance. I didn't know how to get into it.
What is drawing? How does one get there? It's working one's way through an invisible iron wall that seems to stand between what one feels and what one can do. How can one get through that wall? - since hammering on it doesn't help at all. In my view, one must undermine the wall and grind through it slowly and patiently.
I really think music and movement - dance, you know - and literature inform my visuals. I think film is also based in dance. The relationship between me, the camera and the actor is always a dance.
"Contemporary art" for me is a kind of historical term that describes the 40 years between the Berlin Wall going up and then coming down. I'm not sure who will come up with a better term to describe art, but I think contemporary art is actually done for.
People like to hear songs that they can dance to. Even if they're sitting, they like being made to want to dance and move. By me being a dancer, I know how I'd dance at certain tempos. I was always good at it.
At least I thought it was a wall. It sure felt like one. It was hard. It was flat. It stretched out on either side of me. You know... wall.
I've always wanted to act; I just didn't know how to get into it. It kind of just happened. Dance brought me into it.
You know, you look at Israel - Israel has a wall and everyone said do not build a wall, walls do not work - 99.9 percent of people trying to come across that wall cannot get across and more. Bibi Netanyahu told me the wall works.
I just felt very young and unprepared. I didn't know anyone who'd been pregnant, and I didn't know anyone who'd had a baby. Because everyone around me didn't really get it, I just kept on as though nothing was happening, even though I was slightly scared and throwing up everywhere.
I've always felt an overwhelming need to get out what was inside. The vehicle for me was words on paper - not speech, not art, not dance, not anything else.
Often there is a wall between the journalist and the star because there is usually not much time to get to know a person, and the star is always asked the same questions, and may be defensive.
I always wanted to know what it felt like to fall on stage... now I know. It's not how you fall, but how you get up
Except even at the start, when we were in that can't-get-enough-of-you-phase, there was like some invisible wall between us. At first I tried to take it down, but it took so much effort to even make cracks. And then I got tired of trying. Then I justified it. This was just how adult relationships were, how love felt once you had a few battle scars.
Dance is a universal language, and whether you know how to dance or grew up training in dance, you have a respect for people who love to dance, and it's also visually very entertaining to watch a great dancer.
I have always loved contemporary dance, but it has always been a bit of a mystery to me. But choreography is very much like what I do when you are putting characters in frame on the page. It's so impressive what they do with their bodies. It's like painting: an abstraction.
Their leaving made me melancholy, though I also felt something like relief when they disappeared into the dark trees. I hadn't needed to get anything from my pack; I'd only wanted to be alone. Alone had always felt like an actual place to me, as if it weren't a state of being, but rather a room where I could retreat to be who I really was.
In the kind of films offered to me, I don't even get the role of a city-based college girl. How do I let people know I can do sophisticated, contemporary roles, too?
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