Boris Eifman is official. Contemporary ballet: Boris Eifman Theater

“Anna Karenina” directed by Boris Eifman

The troupe of the Boris Eifman Ballet Theater has begun preparations for the opening of the new, 41st season.

In its first half, the celebration of the 40th anniversary of Eifman’s team, celebrated this year, will continue.

We bring to your attention information about the theater’s creative plans for 2017–2018.

On September 7, the troupe began a tour in China. They will last until September 16 and will cover Shanghai and Beijing.

The ballets Anna Karenina and Rodin, Her Eternal Idol will be presented in both cities. Performances in the Chinese capital will open the program of the annual Dance Festival of the National Center for the Performing Arts - the main venue of the Celestial Empire, which will host St. Petersburg artists.

In the second half of September, the troupe will perform for the first time in its history in Vladivostok (on the Primorsky stage of the Mariinsky Theater), and will also visit Khabarovsk. Spectators in the cities of the Russian Far East will see the ballet “Eugene Onegin”.

On September 29 in St. Petersburg, on the stage of the Alexandrinsky Theater, a new version of the ballet “Russian Hamlet” released this year will be shown. Let us clarify that it was on this day 40 years ago in Leningrad that the first official public performance of Boris Eifman’s troupe took place, which became a starting point in the history of the group.

At the beginning of October, the theater will come to Chisinau with the ballet “Beyond Sin”, and in the second half of the month it will perform the same production (as well as “Red Giselle”) in St. Petersburg. The end of October and the beginning of November will be marked by tours in Surgut and Krasnoyarsk (with the performances “Anna Karenina” and “Eugene Onegin”).

The premiere of the ballet “Beyond Sin” in Bratislava is scheduled for November 17. The production of Boris Eifman based on the novel by F. M. Dostoevsky “The Brothers Karamazov” will be presented by the troupe of the Slovak National Theater.

On November 18 and 19, the St. Petersburg troupe will perform the ballet “Anna Karenina” on the stage of the Lausanne Opera. On November 25, in the Barvikha Luxury Village concert hall, in honor of its 40th anniversary, the theater will present the performance-concert “EIFMAN GALA”. His program will consist of fragments from the best works of Boris Eifman.

The culmination of the team's anniversary celebration will be a large gala concert on the stage of the Alexandrinsky Theater. The event is scheduled for December 12.

In addition to scenes from selected theater productions, the St. Petersburg public will see numbers performed by students of the Boris Eifman Dance Academy, as well as works by young choreographers.

In the second half of December, the troupe will go on tour to Spain, during which they will show the play “Anna Karenina” in Pamplona and Barcelona (at the famous Liceu opera house). The team will visit the capital of Catalonia for the first time.

The beginning of January will be marked by the theater’s participation in the Beijing Dance Festival with the play “Beyond Sin.” Then the artists will return to St. Petersburg, where filming of the film-ballet “Russian Hamlet” will begin.

A landmark event in February will be the performances of the ballet “Requiem” in Montreal, accompanied by an orchestra and choir. In the second half of March the troupe will tour the Baltics with the play “Tchaikovsky. PRO et CONTRA.” The tour will cover Tallinn, Riga, Vilnius and Kaliningrad.

The theater will make its debut at Lincoln Center in April. The troupe will stage a series of screenings of Anna Karenina in New York's largest and most prestigious cultural center. The dancers will be accompanied by an orchestra.

In May, the team will take part in the International Festival “Lake Constance”, held in Friedrichshafen (Germany). Its viewers will be able to get acquainted with the ballet “Eugene Onegin”. Two of his performances will also be accompanied by an orchestra.

A busy touring life awaits the theater in June. Over the course of a month, the troupe will give performances in Monaco, Recklinghausen, Germany (as part of one of the oldest European arts festivals, Ruhrfestspiel), as well as in Vienna and other capitals on the Danube. The European tour will mark the end of the theatre's 41st season.

In addition, this season Boris Eifman plans to work on a new ballet. The performance, inspired by the ancient myth of the sculptor Pygmalion and works of art that reinterpret this plot, will be the choreographer’s first turn to the comedy genre in many years.

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Boris Eifman Ballet Theater on tour in London

Boris Eifman is a legend. He lives his whole life and performs his ballets in defiance of: prohibitions, public opinion, competitors. He proved that you can dance the way you want, and not the way they taught you at the academy. Eifman created a ballet that was destined to revolutionize the idea of ​​choreography, and then (here is the irony of fate) - to become part of a textbook on the history of ballet. Today Boris Eifman is a lifetime classic. On April 15–19, his theater shows two ballets on the stage of the London Coliseum: Rodin and Anna Karenina.

The general partner of the London tour of the St. Petersburg State Academic Ballet Theater of Boris Eifman is the investment company VTB Capital, part of the VTB Group.

Eifman's ballet is analyzed in facts and figures by the site's correspondent

The St. Petersburg State Academic Ballet Theater of Boris Eifman was originally called the “New Ballet”. It appeared in 1977 at the Lenconcert. Eifman got a pop group under his leadership, from which he began to train his future artists. For Leningrad of that time (and for the Soviet Union in general), the theater he created was absolutely innovative. It was the laboratory of one author - Eifman, an experimenter who combined academic and pointeless choreography in his ballets to the music of the mastodon rock bands Pink Floyd, Yes or such creative contemporaries as composer Bela Bartok.

Boris Eifman composed his first choreographic number at the age of 13, recording it in a notebook, which he called “My first performances.” “I am starting these notes,” this boy wrote, “to help specialists in the future understand the origins of my creativity.” Even then, as a child, he looked at the future work of his life with a gaze free from systems and cliches, rules and responsibilities. Later, Eifman, who from the very first productions was called the Treplev of ballet, that is, an innovator and seeker of new forms (it is probably no coincidence that the play “The Seagull” appeared in the repertoire of his theater), will say: “In principle, nothing new has been created in dance technique it can no longer be. Today, in general, any technique is traditional. But I see 21st century ballet. He is absolutely free from any traditional systems, from any obsessive forms. This is a world in which movements from classical dance, from modern dance, the movements of gymnasts and wushu instructors, the movements of a boy, an old man, a pregnant woman, the movement of a tree or a stone can appear.”

The very first tour of the New Ballet took place a month after its formation. In 1977, the theater went to Kyiv to perform on the stage of the October Palace. The tour was accompanied by a scandal. The ballet “Boomerang” was brought to Soviet Kyiv, based on Bertolt Brecht’s “The Threepenny Opera” to the music of John McLaughlin, which was very un-Soviet. The artists were already warming up before putting on makeup when the news reached them that local party leaders considered it impossible to hold an anti-Soviet event in the capital of Ukraine. Then the ballerina Alla Osipenko, who performed the main role in Boomerang, said that she would commit suicide if they were not allowed to go on stage. So “Boomerang” was shown to the people of Kiev, who understood and accepted the bold, complex language of the innovative choreographer. Since then, Kyiv has been considered a talisman city at the Eifman Theater. Boris Yakovlevich himself jokes: “If the Kyiv audience accepts the performance, it means that audiences in other cities will like it.”

Boris Eifman did not participate in the first foreign tour of his theater. The team left for Finland without the maestro, who was not given permission to travel abroad.

In the 1990s, the Boris Eifman Ballet Theater began traveling to New York, gradually making tours to America regular. After the first tour, ballet critic Anna Kisselgoff wrote in the New York Times: “The ballet world, in search of a major choreographer, can stop searching. He has been found, and it is Boris Eifman.”

Times change, fashions in dance styles, themes, and choreographic solutions change. And Eifman continues to stick to his line. “Today the media,” he argues, “talk a lot about the crisis of the global economy, global social problems, and the environment. But for me, the main problem area remains the spiritual world of modern man, which, unfortunately, is going through rather sad times. We are seeing how the most important moral and humanistic values ​​are being lost, how ideas of creativity and transformation of reality are being replaced by the cult of consumption. And ballet, without a doubt (as well as other forms of high art), is that bright force that is able to resist these negative processes. Of course, you cannot change the world and the people around you overnight. But you can shake them, evoke a living response in their souls. And this will already be an important victory.”

The Boris Eifman Ballet Theater's tour to London in April 2014 with the performances "Anna Karenina" and "Roden" will be the fourth visit of the company to the capital of Great Britain in its 37-year history.

For the play “Anna Karenina,” artist Slava Okunev created 177 costumes (including men’s and women’s costumes, costumes for soloists and corps de ballet dancers). Olga Shaishmelashvili designed 282 costumes for the production of Rodin.

All scenery, props, costumes and lighting equipment for the performances “Anna Karenina” and “Roden” are transported to London on two trucks. The cargo volume for each vehicle is 120 cubic meters. The weight of cargo for each performance is about six tons. In total, 12 tons of the Eifman Theater arrived in Foggy Albion.

The ballet “Anna Karenina”, staged to the music of P. I. Tchaikovsky, was first seen by the public in St. Petersburg in 2005. This performance is one of the theater's most successful performances. The focus is on the love triangle Anna – Vronsky – Karenin. The rest of the characters in Tolstoy's drama remained behind the scenes. Boris Eifman interprets Anna as a werewolf woman, who for strangers is a society lady, but for herself is a perishing soul corroded by passions.

The premiere of the ballet "" to the music of M. Ravel, C. Saint-Saens, J. Massenet took place in St. Petersburg in November 2011. The ballet is dedicated to the fate and work of the great sculptors Auguste Rodin and his student, lover and muse Camille Claudel.

Shoes in the ballet theater are consumables. Each theater soloist uses 4 pairs of Gaynor Minden pointe shoes per year (total: 40 pairs per year per theater). Each corps de ballet dancer uses 8 pairs of Grishko pointe shoes per year (total: 160 pairs per year per theater). In addition, each dancer of the troupe uses 2 pairs of soft shoes of the Sansha and Grishko brands per month. It turns out that the theater “dances” 1,320 couples per year.

At the Boris Eifman Theater, all the dancers are unusually tall for ballet. Women in the troupe are from 172 cm, men from 182 cm. “Ballet for me,” Eifman explains, “is, first of all, lines. They should be thin and elongated.”

Boris Eifman's productions are very taxing for dancers from a physiological point of view. Complex choreography, which is compared to acrobatics, the large height and weight of the artists, support, the continuous presence of the soloist on stage - all this leads to the fact that during one performance the artist performing the main role loses from one and a half to three kilograms of weight. You can imagine how the actors lose weight during long daily rehearsals!

Boris Eifman's performances, as a rule, are accompanied by a soundtrack. An exception is the premiere of the play “Requiem” in St. Petersburg, which took place on the 70th anniversary of the complete liberation of Leningrad from the siege. The premiere took place on the stage of the Alexandrinsky Theater, accompanied by the Moscow Virtuosi orchestra conducted by Vladimir Spivakov. Spivakov, according to the musician himself, agreed to this event without hesitation, including because his mother was a siege survivor.

Eifman's team received the longest, record-breaking ovation in 1990 on tour in Japan with the ballet Pinocchio. The audience, extremely restrained in emotions, gave a 20-minute ovation at the end of the performance.

Today the repertoire of the Boris Eifman Ballet Theater includes the performances “Tchaikovsky”, “I am Don Quixote”, “Red Giselle”, “Anna Karenina”, “The Seagull”, “Onegin”, “Roden”, “Beyond Sin”, "Requiem". It's no coincidence that Giselle, Swan Lake or Sleeping Beauty are not on this list. Eifman’s credo is not to take on ballets that have already been staged by someone else. The choreographer is currently working on creating the play “Tender is the Night” based on the novel by F. S. Fitzgerald.

Dear Boris Yankelevich!

Thank you very much for what you do for culture! Your works are extraordinary, they allow people who are extremely far from ballet to fall in love with this form of art!

I saw nine of your productions, my favorite Rodin three times. I followed you to St. Petersburg and Cannes, sent friends to Riga and Alma-Ata - and everyone was absolutely delighted.

I decided to watch the last of the currently ongoing performances, “Russian Hamlet,” in Moscow, at the Bolshoi. And I have a personal request to you. Please, if you ever decide to come on tour to the administrative capital of our homeland, never, never, never take the Bolshoi stage.

I understand that this may be important for status - but what more? To whom and what will this line prove? You and your charges are at such a height that does not need confirmation with these spillikins.

Perhaps, after the restoration, the dressing rooms and other rooms for the artists were made more comfortable. But what happens in the hall is pure humiliation for the viewer. Your viewer. Those who came to watch your work, and not for the status of the main stage of the country.

I understand that these are all everyday life and little things, but they add up to the overall impression. And if ballet dancers are accustomed to neglecting any hardships and getting used to the role or following what they should, then it is difficult for ordinary people to sit for two hours without peeing. They will be more concerned with how to talk themselves into not wetting themselves than with the action of the second act. But there are few toilet stalls in the Bolshoi. On some floors it’s so easy to have one for each sex.

Or these chairs. There are, for example, bars. You can see from the stage who is coming to you. Can you imagine a grandmother who has to sit on a bar stool for 2 hours? These are the chairs of the third row of boxes. There are also chairs in the higher tiers (from the second), they are not bad, but narrow - and with my size (40-42) it’s ok, but people of substantial build don’t fit there, well, perhaps like a sauerkraut in a saucepan, leaking out over the edges.

This, however, is not always important, because in many places visibility when sitting is about 20%, while standing is already at least 80%. That is, when sitting, even the backs of the chairs in front of you are in the way, but when people sit in them, that’s it. You have to stand for two hours. Although your ticket is formally a seated one. True, not everyone will be able to stand, because in the same damned tiers the height to the ceiling is about 175 cm. So people of average height will have to stand on slightly bent legs. This would be great as a workout, but as a ballet viewing experience, not so much.

It was especially bad for my two neighbors. Their places were strictly behind the columns. The nominal value of the ticket is 3,000 rubles. Resellers have 6,500 (almost everyone has the same price; it’s impossible to buy at face value; if you don’t believe me, check). But even, let’s say, a miracle happened and those two lovely ladies bought a ticket for you for 3,000 rubles. And we saw the plaster of the columns. I don’t know how the Bolshoi has the conscience to sell such tickets. There the chairs are built into the floor, they cannot be moved and it is impossible not to know that nothing can be seen from them. There are diagrams of the hall on the Internet with approximate visibility restrictions from each seat. Why couldn’t this be corrected during the restoration? Apparently, these people will answer to some other court.

Viewers are divided into strata according to their level of poverty. Those who have tickets from 17,000 (on repurchase) - please, do not go through the front door, you can’t come here, you are at the 6 or 16 entrance, it’s on the side. It’s impossible to really discuss anything during intermission - narrow corridors, queues for the notorious toilet, nowhere to sit. I ask the cloakroom attendant: “Can I take my raincoat with me, it’s kind of cold.” She: “of course, our air conditioners work well here, throw it on.” We approach the entrance to the hall, the usher: “I’m in charge here and I won’t let you in!” This is a direct quote. I don’t know how such employees are allowed to work with people. And with such a mood - come to your ballet.

Going to your work in Alexandrinka is a holiday. Apart from the inexplicable manner of closing the boxes before the third bell, so that you have to run after the usher with the only key and persuade him to open it, everything else is just fine.

In Moscow, too, there are sane halls where you don’t have to push through magnetic frames, make your way to seats from a semi-back entrance, listen to lectures from employees, come with a spare stool and, just in case, don’t drink the day before. And there are quite large stages, and there is light, and the view from all places is normal. No need for a miracle - just let it be seen.

If you still decide to come, please, please, please choose another room to perform. We, your fans, will endure everything: we will stand for hours on the cold paving stones, we will listen to all the chronic rudeness of the old-school Cerberus at the entrance, we will endure the crush, we will pay exorbitant prices. But if all this ridiculous humiliation can somehow be avoided, let’s avoid it.

The St. Petersburg Academic Ballet Theater of Boris Eifman is the official name of the phenomenon that was born in 1977 and became a unique phenomenon at that time. However, there were also difficulties. The auteur theater of one choreographer, just like auteur cinema, could hardly exist in Soviet reality. However, it arose despite all obstacles. And from that moment the history of the new ballet art began. Without permanent rehearsal points and props, with a small troupe of enthusiasts, which at first was called simply a ballet ensemble, Eifman was able to achieve with the very first performance what took recognized directors many years to achieve.

The ballet “Two Voices” is still remembered in the theater community as a real shock. This was followed by other productions aimed at youth audiences. Bold choreographic decisions, free from clichés, were accompanied by the music of Pink Floyd, Gershwin, Schnittke, which led to a dissident halo around the figure of the choreographer. And this also attracted wide masses of spectators to Boris Eifman’s theater, previously indifferent to the art of ballet.

Features of Eifman's choreography

Thanks to his innate sense of movement and instinct for composition, Boris Eifman created a completely new dance style, which the foreign press has repeatedly called “the ballet of the future.” The combination of avant-garde plastic techniques with the traditions of Russian classics, on which the choreographer grew up, is a resounding success. This is not just ballet - it is a mix of free dance, classics and Dionysian mysteries, history and modernity...

For Eifman, the theater is not just a place of work. This is the main work of his life, which the director treats with appropriate seriousness. “This is my earthly purpose,” states

Plots and ideas

Recognizable plots are the calling card that Boris Eifman's theater has acquired over the years. Most of his productions are plot-based, and often the basis of the ballet is literary works and biographies of people of art. Eifman interprets familiar stories in a new way, and they reveal themselves to the viewer from a completely unexpected side. “Anna Karenina”, “Eugene Onegin”, “Don Quixote”, “The Brothers Karamazov” (ballet “Beyond Sin”) - the artist explodes the framework of works familiar from school, breaking into the realm of the unknown, turning a textbook plot into a modernist work of art . His ballets talk about today, not the past.

Choreographer-psychoanalyst

With his characteristic psychologism, Eifman takes on the interpretation of the biographies of brilliant creators and simply outstanding historical figures. Ballets based on the life of Tchaikovsky, Olga Spesivtseva (“Red Giselle”), and Paul the First were staged. The archetypal traits of the heroes are pulled out and often elevated to the absolute.

The artist explores the problems of power and humanity, struggle and submission, conducts surreal experiments that elevate elements of everyday life to the rank of high art. Each time Eifman turns in his ballets to the flow of life itself - the concept of “art for art’s sake” is alien to him. Boris Eifman is called a choreographer-philosopher and even a choreographer-psychoanalyst - this is how he accurately dissects the impulses of the human soul, transforming them into body movements.

Repertoire

Over the years of its existence, the Boris Eifman Ballet Theater has presented more than forty productions to the public. It is worth talking about some of them, which became the most significant stages in the artist’s creative development.

• 1997 - “Red Giselle” - a ballet that immortalized the tragic story of the Russian ballerina Olga Spesivtseva, who was drawn into the whirlpool of revolutionary terror and went through the loneliness of emigration. The production is distinguished by unusually expressive plasticity. Eifman notes the importance of this ballet in his creative ascent.
• 1998 - “My Jerusalem” - a theatrical performance touching on the eternal themes of human existence. Unlike most of Eifman's productions, the ballet does not have a clear storyline. The viewer notes that its peculiarity is that it uses modern techno music (Jewish, Christian, Muslim religious), as well as ethno-music and excerpts from Mozart.
• 2005 - “Anna Karenina” to the music of Tchaikovsky. The ballet focuses on only one plot line of the novel - the love triangle, which, according to theatergoers, allowed Eifman to achieve maximum psychologism and powerful emotional impact.

• 2011 - “Roden” - a large-scale statement about the tragedy of the fate of geniuses, about what was sacrificed for the sake of creating great masterpieces. Again and again, Eifman turns to the struggle, despair and madness that still awaits many people in the arts. Revived stone, petrified flesh - everything mixed on the theater stage.
• 2014 - “Requiem” (music by Mozart and Shostakovich). This is another ballet atypical for the choreographer, created in two stages. One act was staged in 1991. It was a philosophical reflection on human life to the music of Mozart. But twenty-three years later, Eifman returned to ballet, adding one more act to it - a dedication to A. A. Akhmatova. The premiere of the updated ballet was timed to celebrate the anniversary of the liberation of Leningrad - a holiday marking the victory of life over death.
• 2015 - Up & Down - a plastic interpretation of F. S. Fitzgerald’s novel “Tender is the Night”. It was in this production that Eifman's psychoanalytic talent reached its peak. Original surreal solutions pull out their fears and manias from the depths of the characters’ subconscious, and all this against the backdrop of brilliant jazz arrangements.
• 2016 - “Tchaikovsky. PRO et CONTRA” is the result of many years of creative understanding of the composer’s personality. The complex plot line of the narrative conveys Tchaikovsky's dying memories; his whole life flashes before the viewer's eyes.

Choreographer Boris Eifman, whose biography, whose photo is of interest to all ballet lovers, deserves, if not love, then at least immense respect. He always followed his own path in art, knew how to defend his point of view and find new, sometimes ingenious stage solutions. His ballet has many fans all over the world, his company's tours since the 70s have always been sold out, and today Eifman is at the stage of creative growth, so there are still many surprises ahead for the audience.

Childhood

Boris Eifman (date of birth - July 22, 1946) was born in the small Siberian town of Rubtsovsk, where the family moved before the war in connection with the mobilization of Yakov Eifman, an engineer, for the construction of a tractor plant. Boris's mother worked as a doctor. In 1951, the family returned to their historical homeland in Chisinau. From early childhood, the future choreographer had a great desire for self-expression through plastic arts. Therefore, no one was surprised when Boris Eifman enrolled in the ballet studio at the Palace of Pioneers, where he quickly became one of the best students. Even then, he was distinguished by his unprecedented diligence and was absolutely in love with dance, with the plasticity of the human body, with movement.

Path to the profession

In 1960, Boris Eifman, whose biography was forever associated with ballet, entered the newly opened choreographic department of the Chisinau Music School. He comes to the studio of Rachel Iosifovna Bromberg, who already knew him from her classes in the studio. A little later, she hands over to the student the leadership of the choreographic circle at the Palace of Pioneers. So Eifman simultaneously studies and teaches, understanding the profession more and more deeply.

When he graduated from college in 1964, the desire to continue studying matured in him, and he entered the Leningrad Conservatory. N. Rimsky-Korsakov, to the choreographer's department, from which he graduated in 1972. From the very first steps at the school, Eifman showed more interest in productions than in dance. He had his own vision of the stage and ideas about the expressive capabilities of the dancer’s body, which he dreams of splashing out on the viewer.

Choreographer career

Boris Eifman is a choreographer with extensive experience. He began staging his first performances while still studying. His first productions in Leningrad in the early 70s - “Towards Life” to the music of Kabalevsky, “Icarus” based on the work of A. Chernov and V. Arzumanov, “Fantasy” by A. Arensky - became a real discovery for the ballet public. Even then, he gravitated towards modernism, boldly combining various means of expression. From the very beginning, his productions demonstrated a desire to create a bright synthetic spectacle, which organically combined a literary basis, scenery, costumes, light and dance with a strong dramatic beginning.

In 1972, Eifman's graduation work "Gayane" on the stage of the Leningrad Maly Opera and Ballet Theater caused a lot of noise: unusual choreography, subtle sensitivity of the images - all this made an indelible impression on the public and critics.

Since 1971, Boris Eifman has been working as a choreographer at the Leningrad Choreographic School. Vaganova. His performances with college students were shown on the stage of the Kirov Theater. Here he stages “The Firebird” by I. Stravinsky, “Meetings” by R. Shchedrin, “Interrupted Song” by Kalnins. These works make Eifman famous, including abroad, as the theater takes performances on tour abroad. Also during this period, the aspiring choreographer has the opportunity to make several ballet films for television.

B. Ya. Eifman Theater

Having tried his hand at one of the best theaters in the country, Boris Eifman realized that in such academic institutions he would not be able to fully realize his plans. And he puts all his energy into creating his own theater.

In 1977, his efforts yielded results: he opened the New Ballet Theater at the Lenconcert. Having assembled a troupe to his liking, Eifman begins to create. The choreographer chooses works that are unusual for the Soviet theater and stages them at all. In his performances, the choreographer strives to find answers to the burning questions of existence; first of all, he appeals to the youth audience, trying to speak to them in the language of rock music and modern dance that is close to them.

Since the 80s, he begins to regularly tour abroad, in particular, he annually visits New York, where tours of the Eifman Theater have become traditional and highly anticipated. In Russia, the theater is also incredibly popular, although for many years it has not had its own building. Only in 2010, the Boris Eifman Academy was built, and the Dance Palace, which the master has been dreaming about for many years, is still at the project stage.

Outstanding Works

Boris Eifman, whose biography is the path of an innovator and fighter, created the theater to choose the repertoire at his own discretion. The theater's poster amazes with its variety of genres. It contains buffet ballets: “Crazy Day, or The Marriage of Figaro”, “Intrigues of Love”, programs of chamber ballets: “Metamorphoses”, “Autographs”, fairy tales: “The Firebird”, “Pinocchio”. Eifman always strived to stage performances with a high-quality literary basis, so Anna Karenina, The Master and Margarita, The Duel, and The Idiot appeared in the repertoire. Already the first works showed that the Eifman Theater was ready for experiments, so its playbill included productions of “Nocturnal Animals” by Bartok, “Two Voices” with music by Barrett, and “Temptation” by Wakeman. During his creative life, Boris Eifman has already staged more than 40 ballets, among which the most famous are Tchaikovsky, Red Giselle, Rodin, and Requiem.

Awards

People's Artist Boris Eifman, whose biography is a journey of overcoming, has been spoiled by awards in recent years. Until the 90s, they did not want to honor him with state awards, so as not to encourage innovative ballet art. But after perestroika everything changed, the choreographer received the titles of People's Artist and Honored Artist. He was awarded three times the Order of Merit for the Fatherland and several orders of foreign countries. Eifman is a multiple winner of the Golden Mask, Golden Spotlight and Triumph awards.

Personal life

Boris Eifman is always the object of close attention from the media and fans. The choreographer is credited with many novels, of course: famous, impressive, young, free. Can women pass by such a man indifferently? His most famous romance was his relationship with the beautiful actress Anastasia Vertinskaya. But everything ended in nothing. And Eifman married the soloist of his ballet, Valentina Nikolaevna Morozova. They worked side by side in the theater for a long time, and the master staged several interesting roles for her. In 1995, the couple had a son, Alexander. Valentina was able to fully realize herself as a dancer at the Eifman Theater. And today she continues to work next to him as a teacher-tutor, providing her husband with significant help and support.