Boris Eifman Theatre invites viewers to the ballet "Anna Karenina"

Eifman conveyed the drama of a reborn woman in his production through the movement of his body, without setting himself the task of capturing and conveying the entire titanic volume of the novel. The viewer will find himself in the center of the triangle Vronsky-Karenina-Karenin, in which the entire psychological depth of Anna's destructive love will be revealed. Eifman has repeatedly turned to the classics. He staged several works by Dostoevsky, including The Idiot, The Brothers Karamazov, and Crime and Punishment. Eifman's The Seagull conquered the best Japanese stages several years ago as part of a tour. But the St. Petersburg audience was able to see Anna Karenina for the first time in the fall of 2005. Since then, the production has consistently sold out and enjoys inexhaustible popularity not only among St. Petersburg residents, but also among guests of the city on the Neva. The production of Anna Karenina opened up new means of plastic expression and methods of choreographic psychoanalysis. Ballet became the starting point in Eifman's work, thanks to which he learned to immerse himself with amazing skill in the dance into the inner world of the complex heroes of the famous work. The choreographer wanted to touch upon what only ballet can do, what can be read between the lines of the novel. Eifman succeeded in this one hundred percent - powerful scenes, wonderful dance plasticity, movements honed to the fingertips. And the music, from classical to country, brings the action of a bygone era closer to the present. Reviews of such a bold interpretation of Tolstoy's novel were different, but everyone agreed on one thing - no one had ever created anything like this before Eifman. Only Eifman can look so deeply into the human soul, so between the stocks read Tolstoy.  

With the ballet "Anna Karenina" began the long-term collaboration of Boris Eifman with the artist Zinovy ​​Margolin, who later "drew" almost all of the choreographer's performances. Traditionally, the costumes were created by Vyacheslav Okunev. In "Karenina" they are deliberately minimized, as are the scenery. Nothing distracts from the tense, danced love story of Anna and Vronsky, the torments of Karenin and the silent boy Seryozha, the Karenins' son, standing somewhere in the background. Since 2005, the performance based on Tolstoy's immortal novel has captivated audiences practically all over the globe. And in recent years it has remained the calling card of Boris Eifman's troupe.

Tickets for the ballet "Anna Karenina" are an opportunity to take a completely new look at the classics, to "read" Tolstoy with the help of the dance of talented artists.