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In London I never felt I could mess up.’ And mess up is something he reckons young dancers should be able to do.‘It’s just better when it’s tragic and dramatic, maybe like Giselle. I’m drawn to the dark side.’ Unsurprisingly, Polunin’s claim that ‘I’m not much attached to what I do’ has ruffled ballet feathers, disgruntled that such a naturally gifted dancer is disrespecting the art.But Polunin is unrepentant – and a vehement champion of dancers’ rights.‘I’m not fond of the idea of doing ballet for ballet’s sake,’ he admits, ‘because dancers get exploited and they’re not paid well. But that means the industry doesn’t grow.’ As for the dark side, Polunin is open about his times dancing while on cocaine, claiming that it actually enhanced his performance.

‘I don’t do it now’ – I think I believe him – ‘but it was great because you just don’t get tired, you’re flying.

But you can’t take too much, otherwise you forget the choreography. Twenty years ago everybody was at it.’ As if that wasn’t enough of a headache for anyone showcasing Polunin’s talent, he’s also a fan of the ink.