A ballet by Boris Eifman

Based on the novel in verse by Alexander Pushkin

Music: Pyotr Tchaikovsky, Alexander Sitkovetsky

Sets: Zinovy Margolin

Costumes: Olga Shaishmelashvili, Pyotr Okunev, Anna Yakushchenko

Light: Gleb Filshtinsky, Boris Eifman

Premiere: March 3, 2009

Eugene Onegin is a dance version of the novel in verse by Alexander Pushkin in which Boris Eifman combines classics and modernity. Pushkin's heroes are represented as modern day men and women living at the turn of the century during the period of drastic social change. An unexpected combination of classical music by Pyotr Tchaikovsky and rock music by Alexander Sitkovetsky helps the audience get better insight into Eifman’s original creative concept.

Eugene Onegin ballet offers a unique opportunity to see a contemporary interpretation of this classical literary plot.

“When I rely on great literature in my ballets, I do it in an attempt to express, by means of choreographic art, the emotional impact of the wisdom and creative power of our great predecessors. Word is an instrument of both creation and destruction; it can crush as easily as breathe new life.

The language of body movement, the oldest known way of self-expression, projects universal spiritual and emotional values that anyone can understand. Thus, using a literary source I set myself a specific task: to raise issues that really matter to my contemporaries, and those that can be conveyed solely by the great art of dance.

One may ask: why did I choose Alexander Pushkin’s versified novel Eugene Onegin for my ballet? What is important to me in it? Literary critics and scholars have called this book “Encyclopedia of Russian Life”. Pushkin, by extraordinarily vivid and scrupulously exact mastery of word coupled with a great talent for psychological insight, depicted the Russian national character of his time, created the poetical image of the Russian soul – mysterious, unpredictable and unparalleled in its sensuousness.

With my art I have always endeavored to decipher the enigmatic Russian soul. My choreographic interpretation of Eugene Onegin is only another attempt to express through dance the mystery of human spirit.

What I’ve done in the ballet was to place Pushkin’s characters in modern times, in new circumstances and conditions that may seem to be more dramatic, sometimes even extreme, when the old world is collapsing and the new reality powerfully imposes new rules. I needed this sort of experiment in order to answer a question that really matters to me: what is the Russian soul today? Has it retained its originality, its mystery, its appeal? What direction would the characters of the novel have opted for today? What in this “Encyclopedia of Russian Life” reflected the times and what remained a pivotal issue for many generations of my compatriots?

The art of choreography does not provide us with solutions to the challenges faced by our society. Yet, by tackling them in a creative way, assessing and analyzing them, we contribute to its development and improvement.”

Boris Eifman

Eugene Onegin official trailer

Онегин – Игорь Субботин
Татьяна – Любовь Андреева
Ленский – Филипп Аржанов
Ольга – Марианна Чебыкина
«Генерал» – Дмитрий Крылов

Спектакль идёт в сопровождении фонограммы

A ballet by Boris Eifman

Based on the novel in verse by Alexander Pushkin

Music: Pyotr Tchaikovsky, Alexander Sitkovetsky

Sets: Zinovy Margolin

Costumes: Olga Shaishmelashvili, Pyotr Okunev, Anna Yakushchenko

Light: Gleb Filshtinsky, Boris Eifman

Premiere: March 3, 2009

Eugene Onegin is a dance version of the novel in verse by Alexander Pushkin in which Boris Eifman combines classics and modernity. Pushkin's heroes are represented as modern day men and women living at the turn of the century during the period of drastic social change. An unexpected combination of classical music by Pyotr Tchaikovsky and rock music by Alexander Sitkovetsky helps the audience get better insight into Eifman’s original creative concept.

Eugene Onegin ballet offers a unique opportunity to see a contemporary interpretation of this classical literary plot.

“When I rely on great literature in my ballets, I do it in an attempt to express, by means of choreographic art, the emotional impact of the wisdom and creative power of our great predecessors. Word is an instrument of both creation and destruction; it can crush as easily as breathe new life.

The language of body movement, the oldest known way of self-expression, projects universal spiritual and emotional values that anyone can understand. Thus, using a literary source I set myself a specific task: to raise issues that really matter to my contemporaries, and those that can be conveyed solely by the great art of dance.

One may ask: why did I choose Alexander Pushkin’s versified novel Eugene Onegin for my ballet? What is important to me in it? Literary critics and scholars have called this book “Encyclopedia of Russian Life”. Pushkin, by extraordinarily vivid and scrupulously exact mastery of word coupled with a great talent for psychological insight, depicted the Russian national character of his time, created the poetical image of the Russian soul – mysterious, unpredictable and unparalleled in its sensuousness.

With my art I have always endeavored to decipher the enigmatic Russian soul. My choreographic interpretation of Eugene Onegin is only another attempt to express through dance the mystery of human spirit.

What I’ve done in the ballet was to place Pushkin’s characters in modern times, in new circumstances and conditions that may seem to be more dramatic, sometimes even extreme, when the old world is collapsing and the new reality powerfully imposes new rules. I needed this sort of experiment in order to answer a question that really matters to me: what is the Russian soul today? Has it retained its originality, its mystery, its appeal? What direction would the characters of the novel have opted for today? What in this “Encyclopedia of Russian Life” reflected the times and what remained a pivotal issue for many generations of my compatriots?

The art of choreography does not provide us with solutions to the challenges faced by our society. Yet, by tackling them in a creative way, assessing and analyzing them, we contribute to its development and improvement.”

Boris Eifman

Eugene Onegin official trailer

«…Не берусь назвать ни одного театрального события (из нынешних), о котором вот так, мгновенно, складывались бы легенды. Как едва ли найду спектакль, который в той же мере, как балет Эйфмана, стал бы зеркалом и летописью своего времени…»

Елена Алексеева, «Петербургский дневник»

«…Борис Эйфман – балетмейстер-режиссер. Расширяя рамки хореографического действа, он вводит в спектакль три сцены сновидений, различных по смыслу и воплощению. Сон Татьяны создан почти хрестоматийно, близко к «букве» романа. Сны Онегина отмечены психологической насыщенностью. Это сны-исповеди. Призрак Ленского, возникающий как наваждение, превращается в судьбу, требующего ответа за содеянное…»

Игорь Ступников, «Санкт-Петербургские ведомости»

«…Спектаклю присуща художественная энергия, единство с литературным первоисточником, что делает постановку более русской, более живой, чем известная версия Джона Крэнко. Это достигается, прежде всего, за счет творческого переосмысления Эйфманом времени и места».

Джутит Макрелл, The Guardian

«Хореография Эйфмана – именно то, что мы от него ждем, она оборачивается то ударными массовыми сценами, то беспокойными, акробатически исполненными монологами, каждая капля чувств в которых прорисовывается наполненными страданием телами».

Дебра Крейн, The Times

«Не заскучаете ни на минуту во время просмотра этой постановки! Сцены были короткими и лаконичными, так что времени на раздумья об увиденном в духе «почему» и «зачем» почти не оставалось. Безусловно, спектакль удерживает Ваше внимание. Хореография Эйфмана потрясающе стремительна, наполнена акробатическими и гимнастическими элементами».

Маргарет Уиллис, Bachtrack

«Столь смелое и дерзкое обращение с Пушкиным, с Чайковским обусловлено не легкомыслием и вседозволенностью, но глубоким психологическим толкованием, чувством времени, озарениями, позволяющими создать философский балет».

Елена Скульская, Postimees