CriticalDance Forum

Eifman Ballet
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Author:  Francis Timlin [ Thu Apr 03, 2014 1:56 pm ]
Post subject:  Re: Eifman Ballet

Eifman Ballet appears at the London Coliseum with the U.K. premiere of "Rodin," April 15-17, 2014 and two performances of "Anna Karenina" on April 19. Broadway World previews the performances.

Broadway World

Author:  Francis Timlin [ Wed Apr 16, 2014 11:31 am ]
Post subject:  Re: Eifman Ballet

Hanna Welbye reviews the Tuesday, April 15, 2014 performance of "Rodin" at the London Coliseum for The Arts Desk.

The Arts Desk

Clement Crisp reviews the same performance for the Financial Times.

Financial Times

Author:  Francis Timlin [ Wed Apr 16, 2014 4:40 pm ]
Post subject:  Re: Eifman Ballet

Judith Mackrell reviews "Rodin" for The Guardian.

The Guardian

Author:  Francis Timlin [ Thu Apr 17, 2014 11:18 am ]
Post subject:  Re: Eifman Ballet

Jane Shilling reviews "Rodin" for The Telegraph.

The Telegraph

Author:  Francis Timlin [ Tue Apr 22, 2014 12:35 pm ]
Post subject:  Re: Eifman Ballet

Luke Jennings reviews "Rodin" for The Observer.

The Observer

Author:  Catherine Pawlick [ Wed Aug 06, 2014 4:03 am ]
Post subject:  Re: Eifman Ballet

"Rodin" - Eifman Ballet
Alexandrinsky Theatre
Saint Petersburg, Russia
by Catherine Pawlick
5 August 2014

Boris Eifman's 2011 production of Rodin is not new, but in its present form, at the opening of the troupe's 2014-2015 season in Saint Petersburg, it offered a fresh, energetic, and passionate interpretation of two of sculpture's greatest figures, Auguste Rodin and Camille Claudel. Their relationship was advertised most widely in the stunning 1988 film Camille Claudel, featuring Isabelle Adjani in one of the most heart-wrenching renditions of a historical couple onscreen.

Eifman's stage version is not dissimilar. Their twisted relationship, the frustrating unfairness experienced by Claudel, and her passionate-violent relationship with Rodin is easily depicted in movement, through the lean, perfectly proportioned ballet bodies of this troupe -- bodies that are, perhaps not ironically, every sculptor's ideal.

After the opening asylum scene in which Camille, here danced by Alina Bakalova, is already caught in the cloud of insanity, we shift to the story's beginning: two women in bonnets and velvet coats enter the large sculpting studio, disrobe and are placed on a rotating table, manipulated into various poses by Rodin. Camille then enters, rips off her overalls, and starts to mold clay with her hands, wrenching it with force into her final vision.

Later, Rodin, danced by the tireless Dmitry Fischer, does the same, turning a mound of five male bodies into a work of art --the famous Burghers of Calais-- with Camille's help. Fischer's movement shifts from entangled pas de deux with Bakalova to sudden, high flying jumps. We see in his movement the extremes of an artist's mood. We see in their duet a warlike combat that alternates between love and hate.

As with all of Eifman's dancers, Bakalova is a tall, with beautiful arches and lovely lines. Rodin requires that the dancers strip down or be stripped to a semblance of flesh-only throughout both acts - -flesh colored leotards are used for propriety's sake. For Bakalova it's not a problem, as her limbs perfectly depict the flesh and bone of our heroine, the image sought by Rodin, and the lines carved by various steps. A perfect master of Eifman's lexicon, she also manages the dramatic expression of the heroine with a remarkable level of depth. Bakalova depicted Claudel with maturity and insight, attesting to her own acting talent.

In Act II, when Claudel visits a Parisian nightclub, there is a relief interlude in which the frilly petticoats of can-can dancers fill the stage and then fall to the floor in the splits. This is followed by a dark tango, where a mystery man, danced masterfully with hints of sultry sexuality by Anton Labunskass, appears in a top hat, and slowly glides Camille about the floor with palpable intensity. Their tango is interrupted by the arrival of Rodin, and Camille immediately forgets about her Mediterranean dance partner.

While some may say nuance is lacking in this rendition of the story of these two great sculptors, the nuance is ever-present if one knows where to look. The movement of the three main characters is differentiated according to their role: Rodin's wife Rose, danced by Natalia Povorozhniuk, appears only in the near-total absence of lighting, in dark toned dresses buttoned up to her chin, waiting for Rodin at the dinner table. Her movement is grounded and somber, in comparison to the flying pas de deux between Rodin and Camille. And in terms of art, near the end, we see Rodin's famous Gates of Hell recreated on an upstage trellis with live bodies twisted into various poses of agony, their mouths open in silent screams -- a genius, poignant moment that clearly depicts Camille's participation in creating the work. Further, the Oz-like gold-buttoned, green-suited, eyeglass-wearing chatterbox critics, who appear twice in clusters around the sculptures at the Salon, scribble furiously on uniform red pads --both times lauding Rodin who arrives in a cane and top hat, leaving the dusty Camille behind. The injustice of her life is revealed in these moments: her work, her art, her genius, are overlooked, and the credit is given to a man.

Eifman's Rodin is a dramatic masterpiece that faithfully touches on themes of torment, despair and passion. It is a must-see for those wishing a two hour journey into the world of art, sculpture, and inspiration.

Author:  Artem [ Fri Dec 19, 2014 10:08 am ]
Post subject:  Re: Eifman Ballet

Russia's leading neo classical ballet presenting Boris Eifman's newest creation – Up & Down. The premiere will be on 27 and 28 –th January 2015 on St-Petersburg Alexandrinsky theater stage.

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Author:  Artem [ Fri Dec 19, 2014 10:13 am ]
Post subject:  Re: Eifman Ballet

Christina Gallea Roy review about Eifman ballet Cannes tour ... in-cannes/

Author:  Artem [ Thu Dec 25, 2014 3:48 am ]
Post subject:  Re: Eifman Ballet

Eifman Ballet presented flashmob on Pulkovo airport!

See the video: ... t-theatre/

Author:  Artem [ Tue Jan 06, 2015 2:24 am ]
Post subject:  Re: Eifman Ballet

Official information about new Eifman's premiere UP & DOWN

A ballet by Boris Eifman
Music: George Gershwin, Franz Schubert, Alban Berg
Sets: Zinovy Margolin
Costumes: Olga Shaishmelashvili
Light: Gleb Filshtinsky, Boris Eifman

The ballet will premiere on January 27, 2015 at the Alexandrinsky Theatre (St. Petersburg)

Boris Eifman is justly called a “choreographer-philosopher”. However, a much more subtle definition that accurately captures the aesthetic individuality of the Maestro would be a “choreographer-psychoanalyst”. Rightly believing that ballet tools open truly unlimited research opportunities before a dance creator, Eifman plunges into the unknown depths of his characters’ inner worlds and penetrates into the most hidden places of the subconscious.

The quintessence of the choreographer’s psychoanalytic research has become the ballet Up & Down. The semantic space of the performance encompassed between two oppositely directed vectors of the plot (the degradation of the talented young doctor and the ascension of his wife and patient), is turned into a field for surrealistic experiments. With the help of the original plastic vocabulary Eifman depicts the disintegration of characters’ consciousness, bringing their nightmares and delusions to the surface. The choreographer emphasizes rather ironically: the ballet Up & Down is not just a full point but a blot in his many years of psychiatric ballet epic.

The characters’ ups and downs take place in the magnificent Jazz Age – the unstoppable feast of life; the era of freedom, sensuality, and hedonism, masterfully recreated by Boris Eifman and his dancers.

“Our fate is woven of cruel ironies. Wealth can be more unbearable than the most terrible poverty, and a clear and sharp mind is vulnerable to the chaos of the unconscious.

The ballet Up & Down is a tragic and bright chronicle of a person’s spiritual death. The story about how a dream of happiness turns into a disaster, and an externally beautiful and carefree life flowing to the rhythms of jazz – into a nightmare.

The ballet’s main character – a charming socialite and talented psychiatrist – has everything to realize his gift and make a great academic career. However, in the world enslaved by money and dark instincts a true harmony is impossible.

The kingdom of luxury, in which the doctor immerses, turns out a perilous morass. An attempt to find a balance between his inner world and reality goes into collapse. Concession after concession – and the character loses his identity, actually leaving the profession and becoming a nurse for his half-mad wife. His mind, charisma, and career fall into pieces. Having lost everything, the doctor becomes an outcast in the society where there is no place for the weak.

A person that forgets his mission and destroys his talent is doomed, and a compromise with the treacherous world full of temptations is always wrecking. The ballet Up & Down is to remind of the fatal consequences of a man betraying himself.”

Boris Eifman

Author:  Artem [ Thu Jan 08, 2015 1:44 am ]
Post subject:  Boris Eifman's Up & Down - Official Teaser Trailer

Author:  Artem [ Mon Jan 12, 2015 9:37 am ]
Post subject:  Graham Watts 2014 big ballet review about Oleg Gabyshev

Graham Watts 2014 big ballet review. Oleg Gabyshev as Rodin (in Boris Eifman’s Rodin) on Top Ten Performances of the Year ... NY.twitter

Author:  Artem [ Tue Jan 13, 2015 9:30 am ]
Post subject:  Oleg Gabyshev is Honoured Artist of Russia!

Eifman Ballet soloist Oleg Gabyshev received the honorary title of Honoured Artist of Russia. Our sincere congratulations to Oleg!


Author:  Artem [ Wed Jan 14, 2015 9:17 am ]
Post subject:  Re: Eifman Ballet

Siobhan Murphy "Boris Eifman: ‘You have to hypnotise the dancers" ... s-4699140/


Author:  Artem [ Thu Jan 15, 2015 8:55 am ]
Post subject:  Bratislava Up & Down premiere

Bratislava is waiting for the Up & Down premiere. The new Boris Eifman's production will be presented at the Slovenské národné divadlo on February 14 and 15.

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