WHO’SWHO

Boris Eifman A sketch of the artist
Having created over 40 ballets, Boris Eifman is one of the few Russian choreographers to have sustained such a prolific creative life in recent decades.  His ballet, “Tchaikovsky” (as well as the leading cast members of “Tchaikovsky” and “The Karamazovs”) has received the prestigious Russian “Golden Mask” award, and the choreographer himself has received the Golden Mask award for his lifetime achievement in contemporary choreography.  Mr. Eifman is also a four-time recipient of the St. Petersburg theater award, “The Golden Sofit.”  His other awards and distinctions include the “Triumph” award; the Russian state award for his contribution to the development of the performing arts; induction into France’s Order of Arts and Letters; the distinguished title of “The People’s Artist of Russia;” and a professorship at the Vaganova Academy of Russian Ballet.
The 59 year-old choreographer was born in Siberia.  He received his education at the Vaganova Ballet Academy, as well as at the choreographic department of the Leningrad Conservatory.  In 1977 he founded The New Ballet of Leningrad (now known as the St. Petersburg State Academic Ballet Theater, or Eifman Ballet) – Russia’s first and only ballet theater dedicated to performing works by a single choreographer.  With his new ballet troupe, he created an original choreographic style based on classical ballet and infused with the spirit of contemporary choreography.  He has also brought up a group of like-minded artists for whom nothing seems impossible.
Eifman’s artistic philosophy is rooted in contemporary issues.  He is fascinated by the creative mystery and the magic of genius, which is revealed in his interpretations of the lives of Tchaikovsky, Spessivtseva, and Moliere.  Immersing himself in the dark and daunting realm of the human psyche (“The Idiot,” “Murderers,” “Don Quixote,” “Red Giselle,” and “Russian Hamlet”), Eifman creates classic examples of psychoanalysis on stage.  He wants to show an extreme state of being, seeing the madness of his characters not as a mental illness, but as a unique ability to access other worlds and dimensions.  The choreographer pushes the limits of his own imagination through the imagination of his heroes, plunging into the depths of today’s most relevant philosophical and spiritual questions – which were the basis for his latest ballets, “Russian Hamlet”, “Don Juan and Moliere”, and « Who’s Who ». In 2004 Boris Eifman created one-act ballet « Musagete » for New York City Ballet as part of George Balanchine Centennial Celebration program.
In creating his style, Eifman worked through many paradigms and styles of movement, turning his theater into a creative lab for exploration and discovery.  Concerned above all with the theatrical impact of his productions, the choreographer does not restrict himself to the conventions of pure classical ballet.  His works are each a complex, all-encompassing spectacle, constantly revealing new forms and principles of dancemaking.  Using the language of movement and expressive dance steps, dynamic and riveting mass action scenes, unexpected moments of stillness where movement becomes a metaphor, and innovative partnering, Boris Eifman creates his own type of theater – a theater ruled by emotion.

Eifman Ballet of St. Petersburg

Twenty eight years ago, a ballet troupe with an intriguing name of “The New Ballet” presented its first performance – which completely justified its name.  In the stagnant creative atmosphere of Russia in the 1970s, works by Boris Eifman – the founder and Artistic Director of “The New Ballet” – were like a breath of fresh air.  Eifman’s combination of relevant themes and deep psychological perception, philosophical ideas and fiery passions, audacity of movement vocabulary and clarity of dramatic intent were highly unusual for that time.  Even more remarkable was the artists’ level of commitment.  The creation of a ballet troupe dedicated to performing works by one choreographer only was a unique phenomenon in itself .
Eifman’s ballet theater was geared towards a continuous creative process and each year produced new titles for its repertoire.  After “Boomerang,” which was set to rock music, came “The Idiot,” which became a phenomenon in the Russian theater and clearly defined the aesthetic goals of Eifman’s ballet troupe:  the dramatization of the art of dance, deep penetration into the human psyche, daring interpretation of the most relevant, or “taboo,” themes of the time, and the creation of meaningful metaphors through movement.  Eifman also became known for the elegance and powerful impact of the mass action scenes impeccably executed by the troupe’s captivating corps de ballet.
Eifman’s repertoire helped create a special type of artist, combining dancing, acting, brilliant technique, and a gift for transformation.
Eifman’s ballet theater presented 27 productions in its first decade.  Seeking to create a diverse repertoire, Eifman experimented with various genres, which ranged from choreographic miniatures to full-evening ballets.  This period produced “The Metamorphoses” and “Autographs,” “The Legend” and “A Crazy Day,” “The Twelfth Night” and “Love’s Intrigues.” 
It was also during that time that the poignant “Sub-lieutenant Romashov” and the innovative “Master and Margarita” broke though the barriers of censorship.  These ballets saw an entire generation of audiences to whom Eifman’s works have given an unusual feeling of freedom and on whom they have made an astounding emotional and spiritual impact.
Eifman’s production of “The Murderers” signaled a new period in the life of Eifman Ballet characterized by a special emphasis on seeking new forms of dance expression, psychoanalysis through movement, and a new, previously unexplored, energy in dance.
Eifman Ballet’s latest and best known productions include “Tchaikovsky,” “Don Quixote,” “The Karamazovs,” “Red Giselle,” “My Jerusalem,” “Russian Hamlet,” and “Don Juan & Moliere.”  These ballets have brought worldwide recognition to such already well-known and versatile artists of the Eifman Ballet as Albert Galichanin, Elena Kuzmina, Vera Arbuzova, Yuri Ananyan, Alexander Rachinsky, Sergei Zimin.  Today, a young generation of artists is realizing its talent alongside these masters.  They include Yuri Smekalov, Natalia Povorozniuk, Alina Solonskaya, Konstantin Matulevsky, Anastassia Sitnikova, Maria Abashova, Oleg Markov.  Besides the talent of its soloists, Eifman Ballet also owes its success in large part to the incredibly disciplined and professional corps de ballet.  Collaborating on “Tchaikovsky” has laid the foundation for a creative union between two extraordinary artists – Boris Eifman and set designer Vyacheslav Okunev, both of whom are now responsible for what is described as the “amazing visual impact” of the Eifman Ballet productions. 

Principal Dancers
Maria Abashova, Vera Arbuzova, Elena Kuzmina, Natalia Povorozniuk, Yuri Ananyan, Yuri Smekalov.

Soloists
Anastassia Sitnikova, Alina Solonskaya, Alexander Melkaev, Sergei Zimin, Constantine Matulevsky, Oleg Markov, Dmitri Fisher.

Corps de Ballet
Olga Astreiko, Olga Grigorieva, Diana Danchenko, Sofia Elistratova, Yelena Kotik,
Marianna Krivenko, Liana Madisheva, Marianna Marina, Elena Ponomareva, Olga Semyonova,  Natalia Smirnova, Agata Smorodina, Oxana Tverdokhlebova, Valentina Vassilieva, Evgenia Zodbaeva, Ekaterina Zhigalova.

Sergei Barabanov, Sergei Volobuev, Oleg Gabyshev, Pavel Gorbachev, Mikhail Ivankov, Andrei Ivanov, Andrei Kasianenko, Anton Labunskas, Batyr Niazov, Ilia Osipov,  Maxim Pegushin, Igor Polyakov, Ilia Shcherbakov.

 

Choreographer’s reflections on his new work

Ballet is a very special art form that gives us an opportunity to permeate into the subconscious and dive into the heart of psychological drama.  Each new ballet is an expedition into the unknown.

Tolstoy’s novel, Anna Karenina, has always captured my interest.  When reading Tolstoy, one can viscerally feel the author’s acute understanding of his characters’ psyche and revel in his astonishing sensitivity and incredible detail in portraying life in Russia.  The novel, Anna Karenina, allows us not only to submerge deep into the psyche of the heroine, but also to fully understand her psychoerotic essence.  Even today’s literature does not offer such passion, metamorphoses, and phantasmagorias.  All this stood at the core of my choreographic investigation. 

The Karenin family’s steady rhythm of life – the government service of the head of the family, the family’s strict adherence to the societal norms – created an illusion of harmony and peace.  But Anna’s passion for Vronsky crushed the familiar.  The sincerity of the feelings between the two lovers was reviled and openly criticized.  Karenin’s hypocrisy was acceptable for everyone but Anna.  She preferred the sweeping passion for the man she loved to the duty of a mother to her son – and thus condemned herself to the life of an outcast.

She did not find happiness in travels, her husband’s rich estate, or the habitual amusements of the society in which she lived.  Instead, she fell captive to a woman’s tragic enslavement to her sensuality.  I understand a woman who becomes dependent on a man.  This dependence, however, like any other disease, brings only suffering.

Eventually, Anna is driven to commit suicide in order to break free and put an end to her unbearable and torturous life.  Like in a werewolf, two people lived in Anna:  one was the outwardly known lady of high society, who was familiar to Karenin, her son, and everyone around her.  The other was a woman drowning in a sea of passion.

What is more important – to preserve the widely accepted illusion of harmony between duty and emotion, or to allow sincere passion to take over?  Do we have the right to destroy our family and to rid a child of a mother for the sake of carnal pleasure?  These questions beleaguered Tolstoy in the past, and they are still inescapable today.  Yet there are no answers.  There is just the unquenchable thirst for understanding – either in life or in death.

- Boris Eifman