A Secret, Hidden Beauty
It was thoughtful and generous of dorispulaski to share this souvenir from Polina’s early career:
http://www.youtube.com/watch?v=B5TMpeUYyos
Thank you.
What I find fascinating about it is that so many elements of her repertoire were already in place almost five years ago. The formal balletic positions of her arms, the little running steps, and that curious backward leap, almost plaintive in its effect: all were there, as though the flower of her talent was in bloom even then.
It is like a photograph, which captures not only the moment but resonates with moments to come.
What of that “Russian” aspect, though, which others have remarked upon? Is it no more than the precision of her technique or a certain austerity in presentation, or is there something more? Tolstoy and Dostoevsky wrote of a “Russian spirit” that was deep and compassionate, but which found in suffering the revelation of a secret, hidden beauty. Does this young half-American, half-Russian woman possess such a capacity as well?
Here is another photograph:
http://ink361.com/app/users/ig-274641164/polinaedmunds/photos/ig-1024233097430971552_274641164
She is oh, so grave in her beauty. The posture and extension are superb, but her face is transparent in its expression, as though to reveal a heart perhaps unacquainted with hardship or suffering, no more than her own life has been, but with an innate ability to understand and appreciate it.
Perhaps it is something in the blood, something that has been taught.
Her long program this season will be to Max Steiner’s music from “Gone With the Wind,” as she tries to convey an impression of Scarlett O’Hara, one of the most complex heroines in popular literature. Her Scarlett must go from a frivolous girl to a woman wed to rich earth of Tara, whose indomitable spirit has been forged through hardship and heartbreak.
Nothing she has done before has reached this level or depth, though her Romeo and Juliet and Grieg programs were suffused by an almost melancholic yearning. If her Fairy Dance program of last season was more joyful, however, it also required from her a more nuanced technique. It was preparation, then, for what is to come.
A figure skater’s technique is merely an instrument to be used, but the music played on it must come from the heart, if it is to be felt by other hearts. There is something here which suggests, to me at least, an artistry in the process of fulfillment. There will be music, gay and tumultuous and finally grand and glorious, but it will become Polina’s own.