A Quote by Sergei Polunin

The contemporary programs in London are harder and much more damaging for the body. With classical ballet you are relaxed mentally because it's what you learnt, but I want to push myself.
So many people report to be contemporary dancers, and they're not. They are sort of jazz dancers that feel like they're throwing a bit of classical in there. I mean, a true contemporary dancer has got ballet as their base and classical ballet, and that is their base. And then they choose to extemporize on that and go into a contemporary world.
When you train as a dancer, you understand you have to work exceptionally hard. I think dancers are the hardest - working people in show business. You have to push your body beyond where you thought it could go. It's athleticism. Perfection doesn't exist, but with classical ballet, there is an ideal, and I got obsessed with that ideal. In some ways, it was problematic because I don't have an ideal ballet body, but the discipline is what I carry with me to this day. That's my park, the discipline of dancing.
I'm a classical ballet dancer, and at the end of the day I want to be with American Ballet Theater, performing classical ballets.
I had classical training at London's Royal Ballet School, and my first job was with the Semperoper Dresden ballet company in Germany.
What really motivates me to climb harder and harder is not necessarily that I want to push my limits or show who's best, but climbing harder and harder routes makes it more fun.
I've done a couple of songs which are not up to the mark. So, mentally, I've set a goal that I should be more dynamic and try and push myself as much as I can.
Ballet is hard enough when you go with it; when you have to force your body to do things, it is so much harder.
That's the thing with top players, the higher you go up, the more you want. You want to push your body, push your mind, push what you want to get out of that particular season.
It's much harder to work for yourself, by yourself, than to create work for a gallery, because there are no limits and you can do anything you want. It's always easier when you have a parameter, when you have a limit. You can work within the limit and push it and walk the line, but when you're given absolutely no limits, it's harder. You must really think. It's more challenging.
So writing a song is much harder than doing a classical piece for me, because in a classical piece, I can just let the mood dictate what's going to happen.
It's more of a mental sport because I know I can push harder than someone who doesn't know what his body can do.
The heart of the classical repertory is the Tchaikovsky-Petipa 'Sleeping Beauty,' and no ballet is harder to get right.
I put so much pressure on myself. I'm my toughest critic. I always push myself to go harder than I did last time.
Everyone works so hard on their game and on their body. Most of the time, it comes down to who is more relaxed mentally; on the court while playing and off the court.
I try to push myself a little every day. For me, it's doing 10 more seconds of whatever I'm working on. So if I'm on the treadmill sprinting my butt off or doing a grueling core workout, I think to myself, 'You can do 10 more seconds, and you'll be that much mentally stronger.' After a while, those 10 seconds add up!
I understand what it feels like to be tired in a game because I was tired in practice, and I understand what my body can go through and how I can push my body mentally and physically, and that's something I really relate to.
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