#jadehalechristofi

[sergeipoluninfans]

Instagram repost #jadehalechristofi #sergeipolunin

[getmymojoworking]

Some observations as a dance lover and a videographer. First, the video bits:

This may be obvious, but the dance we see here is not one performance. It is a compilation of possibly quite a lot of takes. Think about this as a movie, as opposed to theatre.

While dance videos aren't anything new, it is still rare and refreshing to see a classical dancer filmed this way, performing a contemporary piece. The last video of this sort that I can remember is Polina Semionova's dance video, which I still remember after many years. (I've been out of touch for a while though, so I might've missed some gems.)

Almost the entire video is shot from a low angle, which captures the stunning floor work beautifully. The shot at 1:36 conveys the raw power of the jump and the swing of the arms.

The closeness offered many details that would be otherwise missed in a live performance on stage. On the other hand, I also like the wide shots which let the viewers take in the space of the "church"

The camera is almost always moving, even though the movement is mostly so smooth and slow it's inconspicuous. But I get peeved when the camera jerks up along with the dancer's jumps (2:06, 2:24). It's distracting and takes away the magical suspension of the body in the air.

I got even more annoyed when the editor would cut into the next shot right when the dancer's body is in mid air. Again I think that diminishes the power of the jump.

The flood of lights at 3:08 could've been cheesy, but I think in this context it actually works quite beautifully. The occasional smoke is unnecessary though.

On the choreography and the performance:

I wonder how much the choreographer takes the camera into account while he is making his piece. A few close-ups of the dancer's attacks are taken at the same and only corner. I'm glad this isn't over-done or else it can be too much.

The camera can theoretically go anywhere, so the fourth-wall becomes non-existent. The choreographer makes good use of three sides of the "stage" but the dancer seldom faces the other long side of the room. Keeps things clean, I suppose.

I love the floor work. The most creative movements all happen at the floor. I love how the floor is more of a platform for the dancer to push and jump against as opposed to drag along.

The run at 2:19 is insane. Someone make a gif out of it?

The technique of the dancer is impeccable. He expresses angst very well too, not just with his facial expressions but with the attacks of his movements. 

I also wonder what kind of floor is this... it looks like concrete, which can make jump landings a lot harsher.

I've watched this video a dozen times by now and I still enjoy it very much every single time. LaChapelle, more please!

Dancer: Sergei Polunin (formerly with the Royal Ballet)

Music: "Take Me To Church" by Hozier

Directed by David LaChapelle

Choreography by Jade Hale-Christofi