Boris Eifman brings to Georgia and Armenia his Genious Ballet Production

Saturday, October 19, 2013

BEYOND SIN (KARAMAZOVS)
Choreography by Boris Eifman
Based on the novel of F.Dostoyevsky
Music: S.Rachmaninov, M.Mussorgsky, R.Wagner
Sets and costumes by Vyacheslav Okunev

The Karamazovy" have begun literary ballets of the choreographer – which worthy continuation were "Anna Karenina", "Seagull" and has finished with "Onegin".
Directed by Eifman the novel plot practically departs on periphery – on a scene its deep symbolical implied sense is developed. It is serious ballet dramatic art, with an unusual plasticity of thought, artistic realization of the world of the ideas conducting to solutions of philosophical and prophetical secrets of the novel.

Critics notice that the author managed to create unusual action – visually attractive, found, expressive under the form as it is necessary in the present ballet, and deep under the maintenance, exciting how excites the present drama theater.

ACT ONE
For all the multitude of differences which divide them, Dmitri, Ivan and Alyosha are linked to each other by invisible threads: for the "stinking, sinful" blood of their father, Fyodor Pavlovich Karamazov, runs in their veins.
The monk Alyosha tries in vain to soften the impact of passions which have got out of hand. He is an observer of the bitter rivalry between his father and brother Dmitri for the favors of Grushenka, of his father's constant drunken orgies, of the desperate veering backwards and forwards of Katerina Ivanovna's emotions who is unable to decide whether it is Dmitri or Ivan she loves. But not only is Alyosha incapable of helping his nearest and dearest, he too discovers within himself to an increasing degree the despicable traits of "Karamazovship".
Ivan, who is full of compassion for "the insulted and the injured", hates his father and Dmitri, his brother. The whole family is drawn into the battle for Grushenka between Fyodor Pavlovich and Dmitri Karamasov. Fyodor Pavlovich is killed... and Dmitri is accused of his father's murder.

ACT TWO
Dmitri is in prison. He is innocent of the crime of which he is accused and the loss of Grushenka is a very heavy blow for him.
Ivan and Alyosha argue endlessly about the meaning of existence and about man's soul. Their argument assumes material form in the figures of the Great Inquisitor and of Christ, who has come back to the sinful world, in the legend composed by Ivan. The Inquisitor-Ivan asserts that only tyrany can give people "weak creatures such as they have been created, peaceful, humble happiness". But Christ-Alyosha wishes to free people of their fear and to provide them with "a free heart so that they may determine what is good and what is evil"
A gesture from The Inquisitor — and an obedient crowd is again ready to crucify Christ. "Why have you come here to hinder us?.. Be off and never come back, never!"
Ivan is lacerated by pangs of conscience: he accuses himself of having harbored a wish to kill his father. Reality and fantasy become confused in his mind and he sees the ghost of Fyodor Pavlovich...
Ivan comes to visit Dmitri who is languishing in jail in order to confess to him his sinful desires. Despite the prison bars, the brothers are reconciled and they now love each other.
Alyosha is unable to watch human suffering and, driven by love for his fellow men, he frees the convicts incarcerated in "The House of the Dead". Their heads reeling from the belief that "everything is permitted" to them, the convicts destroy everything on their path.
The family come to a dreadful end: Fyodor Pavlovich is murdered, Dmitri is in jail, Ivan goes off his head, Alyosha is made responsible for the fate of numerous innocent victims...But, however far sinful man may fall, he may be saved if he repents for his sins.

PRESS
"A triumph was the only way to describe the stupendous ballet premier of Dostoyevsky's "Karamazov Brothers" presented by the St Petersburg State Boris Eifman Ballet Theatre. St Petersburg's top ballet experts and the creme-de-la-creme of St Petersburg society gathered for the performance at the Alexandrinsky Theater last week.
“It is the best thing that I have done in my life," said Eifman, considered one of the country's top artistic directors”.
E. Borisova. "The St.Petersburg Press". Russia. 17 October 2009
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ÏÎ ÒÓ ÑÒÎÐÎÍÓ ÃÐÅÕÀ (Êàðàìàçîâû)
Õîðåîãðàôèÿ: Á. Ýéôìàí
Ïî ìîòèâàì ðîìàíà Ô.Ì. Äîñòîåâñêîãî
Ìóçûêà: Ð. Âàãíåð, Ì. Ìóñîðãñêèé,
Ñ. Ðàõìàíèíîâ
Õóäîæíèê: Âÿ÷åñëàâ Îêóíåâ
Ïðåìüåðà ñîñòîÿëàñü 10 îêòÿáðÿ 1995 ãîäà

Èìåííî «Êàðàìàçîâû» ïîëîæèëè íà÷àëî ëèòåðàòóðíûì äðàìàòè÷åñêèì áàëåòàì õîðåîãðàôà – äîñòîéíûì ïðîäîëæåíèåì êîòîðîãî ÿâèëèñü «Àííà Êàðåíèíà», «×àéêà» è çàâåðøèëà òåòðàëîãèþ ïðåìüåðà 2009 ãîäà – «Îíåãèí».
 ïîñòàíîâêå Ýéôìàíà ñþæåò ðîìàíà ïðàêòè÷åñêè îòõîäèò íà ïåðèôåðèþ – íà ñöåíå ðàçâîðà÷èâàåòñÿ åãî ãëóáîêèé ñèìâîëè÷åñêèé ïîäòåêñò. Ýòî ñåðüåçíàÿ áàëåòíàÿ äðàìàòóðãèÿ, ñ íåîáûêíîâåííîé ïëàñòèêîé ìûñëè, õóäîæåñòâåííûì âîïëîùåíèåì ìèðà èäåé, âåäóùèõ ê ðàçãàäêàì ôèëîñîôñêèõ è ïðîðî÷åñêèõ òàéí ðîìàíà.
Êðèòèêè îòìå÷àþò, ÷òî àâòîðó óäàëîñü ñîçäàòü íåîáû÷íîå äåéñòâî – âèçóàëüíî ïðèòÿãàòåëüíîå, èçûñêàííîå, âûðàçèòåëüíîå ïî ôîðìå, êàê ïîëîæåíî â íàñòîÿùåì áàëåòå, è ãëóáîêîå ïî ñîäåðæàíèþ, âîëíóþùåå òàê, êàê âîëíóåò íàñòîÿùèé äðàìàòè÷åñêèé òåàòð.

ÐÅÇÞÌÅ
«Ðîìàí "Áðàòüÿ Êàðàìàçîâû" - â êàêîé-òî ñòåïåíè àâòîáèîãðàôè÷åñêàÿ èñïîâåäü ïèñàòåëÿ, ãäå îí êîíöåíòðèðóåò ìíîæåñòâî âîïðîñîâ è ïðîáëåì. Íàøå îáðàùåíèå ê "Êàðàìàçîâûì" íå ñëó÷àéíî, ïîòîìó ÷òî òå èäåè, êîòîðûå ìû ïûòàëèñü âîïëîòèòü â êàæäîé ñâîåé ðàáîòå îòäåëüíî, òåïåðü ñëèëèñü â îäèí ïîòîê. Îñíîâíàÿ èäåÿ ðîìàíà Äîñòîåâñêîãî - êàðàìàçîâùèíà, èäåÿ íàñëåäñòâåííîñòè â øèðîêîì ñìûñëå ñëîâà. Ó íàñ ó âñåõ äóðíàÿ ðîññèéñêàÿ íàñëåäñòâåííîñòü, âåäü êàðàìàçîâùèíà - ýòî òî îáùåñòâî, â êîòîðîì ìû æèëè è ïðîäîëæàåì æèòü è ïî ñåé äåíü. Âòîðàÿ âîëíóþùàÿ ìåíÿ ìûñëü Äîñòîåâñêîãî ðàñêðûâàåòñÿ â äèàëîãå Èâàíà è Àëåêñåÿ - ïî êàêîìó ïóòè èäòè ÷åëîâå÷åñòâó, ÷òîáû äîñòè÷ü ãàðìîíèè. Ñàìà æèçíü Àëåêñåÿ - âîïëîùåíèå èñòîðèè Ðîññèè: îò âåðóþùåé ê ñîêðóøàþùåé âñå âîêðóã - è ñíîâà âîçâðàùàþùåéñÿ ê Áîãó».

ÀÊÒ ÏÅÐÂÛÉ
Äìèòðèé, Èâàí è Àëåøà, íåñìîòðÿ íà áåçäíó ðàçëè÷èé, ñâÿçàíû äðóã ñ äðóãîì íåâèäèìûìè íèòÿìè: èõ îáúåäèíÿåò "ñìðàäíàÿ, ãðåõîâíàÿ " êðîâü îòöà, Ôåäîðà Ïàâëîâè÷à Êàðàìàçîâà. Òùåòíû ïîïûòêè èíîêà Àëåøè ðàçâÿçàòü óçåë ñõëåñòíóâøèõñÿ ñòðàñòåé. Îí âèäèò îæåñòî÷åííîå ñîïåðíè÷åñòâî îòöà è áðàòà Äìèòðèÿ èç-çà Ãðóøåíüêè, áåñêîíå÷íûå ïüÿíûå îðãèè îòöà, ìåòàíèÿ Êàòåðèíû Èâàíîâíû, êîòîðàÿ çàïóòàëàñü â ñâîèõ ÷óâñòâàõ è ê Äìèòðèþ, è ê Èâàíó, íî Àëåøà íå òîëüêî íå â ñîñòîÿíèè ïîìî÷ü ñâîèì áëèçêèì, îí ñàì âñå áîëüøå îáíàðóæèâàåò â ñåáå íåíàâèñòíûå ÷åðòû "êàðàìàçîâùèíû".

Èâàí ïîëîí ñîñòðàäàíèÿ ê "óíèæåííûì è îñêîðáëåííûì", íî áëèæíèõ ñâîèõ - áðàòà Äìèòðèÿ è îòöà - íåíàâèäèò.
 äðàêó îòöà è Äìèòðèÿ èç-çà Ãðóøåíüêè âîâëå÷åíà âñÿ "ñåìåéêà ". Ôåäîð Ïàâëîâè÷ óáèò...  óáèéñòâå îáâèíåí Äìèòðèé.
ÀÊÒ ÂÒÎÐÎÉ
Äìèòðèé â òþðüìå. Äëÿ íåãî, áåçâèííî îñóæäåííîãî; ïîòåðÿ Ãðóøåíüêè - òÿæåëåéøåå èñïûòàíèå
Èâàí è Àëåøà âåäóò áåñêîíå÷íûé ñïîð î ñóòè áûòèÿ, î äóøå ÷åëîâå÷åñêîé. Ñïîð ìàòåðèàëèçóåòñÿ â îáðàçû ëåãåíäû, ñî÷èíåííîé Èâàíîì, î Âåëèêîì Èíêâèçèòîðå è Õðèñòå, âíîâü ïðèøåäøåì íà ãðåøíóþ çåìëþ. Èíêâèçèòîð Èâàí óòâåðæäàåò, ÷òî òîëüêî òè¬ðàíèÿ ìîæåò äàòü ëþäÿì "òèõîå, ñìèðåííîå ñ÷àñòüå ñëàáîñèëüíûõ ñóùåñòâ, êàêèìè îíè ñîçäàíû". Íî Õðèñòîñ-Àëåêñåé ñòðåìèòñÿ îñâîáîäèòü ëþäåé îò ñòðàõà è ïðåäîñòàâèòü èì, "ñâîáîäíûì ñåðäöåì, ðåøàòü, ÷òî äîáðî è ÷òî çëî".

Æåñò Èíêâèçèòîðà - è ïîñëóøíàÿ òîëïà ãîòîâà âíîâü ðàñïÿòü Õðèñòà. "Çà÷åì òû ïðèøåë íàì ìåøàòü?.. Ñòóïàé è íå ïðèõîäè âîâñå… íèêîãäà, íèêîãäà! "
Ìóêè ñîâåñòè òåðçàþò Èâàíà: îí âèíèò ñåáÿ â æåëàíèè óáèòü îòöà. Ðåàëüíîå è ôàíòàñòè÷åñêîå ñìåøèâà¬þòñÿ â åãî ñîçíàíèè - åìó âèäèòñÿ ïðèçðàê Ôåäîðà Ïàâëîâè÷à...

Èâàí ïðèõîäèò ê òîìÿùåìóñÿ â òþðüìå Äìèòðèþ, ÷òîáû ïîâèíèòüñÿ â ñâîèõ ãðåõîâíûõ æåëàíèÿõ. Ðåøåòêè íå ìåøàþò áðàòüÿì îáðåñòè ëþáîâü è óìèðîòâîðåíèå.
Àëåêñåé íå â ñèëàõ âèäåòü ÷åëîâå÷åñêèå ñòðàäàíèÿ, è, âåäîìûé ëþáîâüþ ê ëþäÿì, âûïóñêàåò óçíèêîâ "ìåðòâîãî äîìà" íà ñâîáîäó. Îïüÿíåííàÿ îùóùåíèåì, ÷òî "âñå ïîçâîëåíî", òîëïà ÿðîñòíî âñå ñîêðóøàåò íà ñâîåì ïóòè.

Ñòðàøåí ôèíàë "ñåìåéêè": óáèò Ôåäîð Ïàâëîâè÷, Äìèòðèé â òþðüìå, Èâàí áåçóìåí, Àëåêñåé ïîâèíåí â áåñ÷èñëåííûõ íåâèííûõ æåðòâàõ... È âñå-òàêè, êàê áû íè ïàë ãðåøíûé ÷åëîâåê, ó íåãî åñòü âîçìîæíîñòü âñòàòü íà ïóòü î÷èùåíèÿ...

ÏÐÅÑÑÀ
«Áîðèñ Ýéôìàí ïðî÷åë Äîñòîåâñêîãî êîíãåíèàëüíî. Ïåðåâåäÿ äóõ â òåëî ñâîåãî áàëåòà, îí îñòðàíèë Äîñòîåâñêîãî, ñäåëàâ åãî ïðèãîäíûì äëÿ ñåãîäíÿøíåãî çðèòåëÿ.»
Àëåêñàíäð Ãåíèñ. Íîâîå ðóññêîå ñëîâî. 29 ÿíâàðÿ 1999.
«Èñòîðèÿ ñåìüè Êàðàìçîâûõ ðàçâèâàåòñÿ ÷ðåçâû÷àéíî äèíàìè÷íî. Ñþæåò, òî, ÷åãî ñîâðåìåííûé áàëåò ñòîðîíèòñÿ, äàí âíÿòíî è çàõâàòûâàþùå. Áîðèñ Ýéôìàí, ïîæàëóé, âïåðâûå ñî÷èíèë ïîñòàíîâî÷íûé áàëåò, ïðîÿâèâ ñåáÿ êàê óìíûé, òîíêèé è èçîáðåòàòåëüíûé ðåæèññåð. Åãî ôàíòàçèÿ áüåò ÷åðåç êðàé, íèãäå íå íàðóøàÿ ãðàíèö âêóñà è ñìûñëà».
Åëåíà Àëåêñååâà. Ðóññêàÿ ìûñëü. 25-31 ÿíâàðÿ 1996.
«Ïåðåä íàìè íå èëëþñòðàöèÿ ê «Áðàòüÿì Êàðàìàçîâûì» è íå èíòåðïðåòàöèÿ ðîìàíà, à õóäîæåñòâåííîå âîïëîùåíèå âèõðåâîãî äâèæåíèÿ åãî èäåé, åãî ðîêîâûõ èñòîðè÷åñêèõ ïðîðî÷åñòâ.  ïîñòàíîâêå Ýéôìàíà ñþæåò ðîìàíà îòõîäèò íà ïåðèôåðèþ – íà ñöåíå ðàçâîðà÷èâàåòñÿ åãî ãëóáîêèé ñèìâîëè÷åñêèé ïîäòåêñò. (…) Ïåðåä íàìè íå ïðîñòî, êàçàëîñü áû, íåâîçìîæíîå – «òàíöóþùèå Êàðàìàçîâû» - ýòî ñåðüåçíàÿ áàëåòíàÿ äðàìàòóðãèÿ, ñ íåîáûêíîâåííîé ïëàñòèêîé ìûñëè, õóäîæåñòâåííûì âîïëîùåíèåì ìèðà èäåé, âåäóùèõ ê ðàçãàäêàì ôèëîñîôñêèõ è ïðîðî÷åñêèõ òàéí ðîìàíà Äîñòîåâñêîãî».
Òàòüÿíà Áîáîðûêèíà. Áàëåò. ¹4, 1996.
«Ñïåêòàêëü ïîëó÷èëñÿ ýìîöèîíàëüíûé, ñòðàñòíûé. Ïëàñòèêà, òàíåö, êîìïîçèöèÿ, ïðèåìû è òðþêè äðóãèõ âèäîâ èñêóññòâ – âñå ýòî òîëüêî ôîðìà, çà êîòîðîé äåéñòâèòåëüíî «õàîñ øåâåëèòñÿ».
Íèíà Àëîâåðò. Ìàðèèíñêèé òåàòð. ¹12, 1995.
«Äóìàþ, ÷òî â «Êàðàìàçîâûõ» Ýéôìàí, êîòîðîìó â åãî òâîð÷åñòâå äàëåêî íå âñåãäà ñîïóòñòâîâàëè áëàãîïðèÿòíûå îáñòîÿòåëüñòâà, âûðâàëñÿ íàêîíåö íà ïðîñòîð ìûñëè è ÷óâñòâà, ñîçäàâ íå ïðîñòî áàëåò, à òåàòðàëüíî-õîðåîãðàôè÷åñêîå äåéñòâî, ãäå â îäèíàêîâîé ìåðå âàæíû òàíåö, ïëàñòèêà, æåñò, ïàíòîìèìà. (…) Ñàìûå ñëîæíûå æèçíåííûå êîëëèçèè è ôèëîñîôñêèå ïðîáëåìû Ýéôìàí óìååò ðàçðåøàòü ñ ïîðàçèòåëüíîé ÿñíîñòüþ ñ ïîìîùüþ ïëàñòèêè è òàíöà, ýêñïðåññèâíîé, çàõâàòûâàþùåé äóõ äèíàìèêè è «ìåðòâûõ», ñòàòè÷åñêèõ ïàóç. Åãî îñíîâíîå îðóäèå – ìåòàôîðà, ðàñêðûâàþùàÿ ãëóáîêèé ïîäòåêñò ïðîèñõîäÿùåãî».
Èãîðü Ñòóïíèêîâ. ×àñ ïèê. 28 îêòÿáðÿ 1995.
«Àâòîðó óäàëîñü ñîçäàòü íåîáû÷íîå äåéñòâî – âèçóàëüíî ïðèòÿãàòåëüíîå, èçûñêàííîå, âûðàçèòåëüíîå ïî ôîðìå, êàê ïîëîæåíî â íàñòîÿùåì áàëåòå, è ãëóáîêîå ïî ñîäåðæàíèþ, âîëíóþùåå òàê, êàê âîëíóåò íàñòîÿùèé äðàìàòè÷åñêèé òåàòð».
Àíòîí ×àðêèí.
«ß âèäåë áàëåò Áîðèñà Ýéôìàíà «Êàðàìàçîâû» è áûë ïîòðÿñåí òåì, êàê îí ñóìåë ÿçûêîì õîðåîãðàôèè áëåñòÿùå ïåðåäàòü ýìîöèîíàëüíóþ ãàììó ãåíèàëüíîãî ïðîèçâåäåíèÿ Ô. Äîñòîåâñêîãî».
Ðîñòðîïîâè÷ Ì. 1995. Ñåíòÿáðü
«Õîðåîãðàô ïûòàåòñÿ âñëåä çà âåëèêèì ðîìàíîì ðåøèòü âå÷íóþ òåìó ñâîáîäû è ðàáñòâà. Ñâîáîäû, îáåðíóâøåéñÿ ñâîåâîëèåì, çíàìåíèòûì «åñëè Áîãà íåò, òî âñå äîçâîëåíî». Òåìû ýòè ïîòîìó è âå÷íû, ÷òî ñâîåâðåìåííû è àêòóàëüíû âñåãäà. È ðàçðåøèòü èõ îêîí÷àòåëüíî âðÿä ëè âîçìîæíî. Ñïîð Àëåøè ñ Èâàíîì, Õðèñòà ñ Âåëèêèì Èíêâèçèòîðîì íåñêîí÷àåì. ×åëîâå÷åñòâî âñå åùå èùåò ïóòè ê ãàðìîíèè è ñ÷àñòüþ, òåðïèò, ñòðàäàåò, íàäååòñÿ. È äëèòñÿ ýòî âåêà. È íåò ýòîìó êîíöà.
Òàê ìîæíî «ïðî÷åñòü» áàëåò, íî êàæäûé çðèòåëü íàéäåò â íåì ñâîå, ñîçâó÷íîå åãî ìûñëÿì è îùóùåíèÿì».
À. Ëüâîâà «Ñàíêò-Ïåòåðáóðãñêèå âåäîìîñòè», Ðîññèÿ, 3 íîÿáðÿ 1995 ã.
«Áîðèñ Ýéôìàí íàäåëåí óäèâèòåëüíûì äàðîì èëëþñòðèðîâàòü ïðîèçâåäåíèÿ è ïîðàæàòü âîîáðàæåíèå çàõâàòûâàþùèìè êàðòèíàìè. Ýéôìàí – ïðèâåðæåíåö íåîêëàññè÷åñêîãî òàíöà, åãî äâèæåíèÿ òÿãó÷è, íàñûùåíû ïðûæêàìè, ãîëîâîêðóæèòåëüíûìè ïîçàìè, ðóêè òàíöîâùèêîâ ÷àñòî òÿíóòñÿ ê íåáó â çíàê ìîëüáû èëè îò÷àÿíüÿ. Áàëåò âåëèêîëåïíî ñî÷åòàåòñÿ ñ ïðîòÿæíîé ìóçûêîé Ðàõìàíèíîâà, âàãíåðîâñêèìè áóðÿìè è ñ áåçóìíîé «íî÷üþ íà Ëûñîé Ãîðå» Ìóñîðãñêîãî».
Ë. Ëèáàí. «Ëå Ïàðèçüåí», Ôðàíöèÿ, 24 ÿíâàðÿ 1996 ã.
«Íîâûé áàëåò Áîðèñà Ýéôìàíà ïðèíÿò ñ îãðîìíûì ýíòóçèàçìîì íåìåöêîé ïóáëèêîé, ïîòðÿñåííîé äðàìàòè÷íîé íàñûùåííîñòüþ äèàëîãîâ è òàêèìè çàõâàòûâàþùèìè ñöåíàìè, êàê óáèéñòâî îòöà Êàðàìàçîâà èëè ðàçðóøèòåëüíîå áåçóìèå òîëïû, íàïîìèíàþùåå ñåãîäíÿøíþþ Ðîññèþ, â êîòîðîé àíàðõèÿ êîìïðîìåòèðóåò íåäàâíî çàâîåâàííóþ ñâîáîäó. Ñïåêòàêëü óêðàøàåò âåëèêîëåïíàÿ ñöåíîãðàôèÿ, óñïåõó êîòîðîé ñïîñîáñòâóþò òðàíñôîðìèðóþùèåñÿ äåêîðàöèè Âÿ÷åñëàâà Îêóíåâà è ïðåêðàñíîå ñâåòîâîå ðåøåíèå, ñîçäàííîå ñàìèì õîðåîãðàôîì. Íàêîíåö ñàìà ìóçûêà – íîñòàëüãè÷åñêèå ïåñíè öûãàí, ñèìôîíè÷åñêèå ïðîèçâåäåíèÿ Ðàõìàíèíîâà – íàïîëíÿþò ñïåêòàêëü ìîùüþ è êàêîé-òî òðåâîæíîé ëèðèêîé».
Ð. Ñèðâèí. «Ëå Ôèãàðî», Ôðàíöèÿ, 14 äåêàáðÿ 1995 ã.

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