Boris Eifman’s ballet, which enjoys world recognition, is in Australia for the first time. Not knowing the Australian audiences’ preferences, the famous Russian choreographer has chosen two ballets at his own discretion. They are both typical and risky. The first one is Tchaikovsky, a choreographic interpretation of the great Russian composer’s biography, in which Pyotr Tchaikovsky’s non-traditional sexual orientation can be easily traced. The second one is Anna Karenina based on Leo Tolstoy’s novel. Anna Karenina is the most recent ballet staged by Boris Eifman. “It is the climax of our quest and our ballet style,” Boris Eifman says.
“We tried to stage a bright, emotional show which is actually conquering the world today. Some people accuse this ballet of too much eroticism but when we show Anna’s feelings, her immersion into the hell of passions we cannot do without erotic dance.”
Boris Eifman’s Ballet is going to perform for their new audiences in their anniversary year. The company marks its 35th anniversary and is proud of being the only art house ballet in Russia. Its founder and permanent artistic director Boris Eifman sets an unusual goal of combining choreography with the principles of the Russian psychological theatre and showing that ballet in Russia can find new opportunities for the development of world ballet.
In the near future, Boris Eifman and his company will themselves have new opportunities for development. Two large projects are nearing completion, the Academy of Dance and the Palace of Dance which are under construction in St. Petersburg. Boris Eifman has particular ambitions about the Academy of Dance. It is an innovative ballet school which Eifman compares to The Russian Silicon Valley – the Skolkovo scientific and technological complex near Moscow which has become the symbol of Russia’s modernization.
“The main aim of our academy is to create a ‘ballet Skolkovo’, so to say. We will invite the best people from all over the world who work in different styles of dance and we will try to bring up a new type of dancer, a universal dancer who would be able to implement the choreographer’s every fancy.”
Boris Eifman’s requirement is as follows: comprehend emotions that spill out of human movement and understand the secret of your skill beyond this movement. It is like alchemy…”