On the opening night of The Seagull by Anton Chekhov in 1896, the audience was so hostile the main actress lost her voice. Chekhov cowered backstage for the second half of the performance, too intimidated to remain among the outraged viewers.
When, years later, the play became a success, Chekhov was left in disbelief. The play, which is a perfect example of metatheater, folds these exact dramas and failures into its plot and is largely considered one of the most important staged works of all time.
For choreographer Boris Eifman, the tension between failure and success is part and parcel of working in the ballet world. In his interpretation of The Seagull, he adapts the struggles of actors and directors to dancers and choreographers. The production, The Seagull. A Ballet Story, which has received extensive critical acclaim, will be performed in Israel at the end of September.
“The production presents a universal, generalized portrayal of the modern ballet theater,” said Eifman in a recent interview with The Jerusalem Post. “Dancers from a wide variety of companies certainly can recognize themselves in the characters we present on stage. Eifman Ballet members are no exception. It was important for me to show the world backstage, full of seething passions, creative ambitions, and dramas. Everything that makes up the existence of any theatrical troupe.”
Eifman, 78, has been one of the most constant voices in Russian ballet for decades. Born and raised in Siberia, Eifman made his way through several of the most renowned ballet institutions before founding his own company in 1977.
“My whole life consists of non-stop hard labor,” he reflected. “We have always had to overcome various difficulties, whether it was the party censorship during the USSR era or the lack of money in the 1990s.”
Now, Eifman Ballet is thriving, with all the support necessary to purvey the psychologically charged ballets of its artistic director.
“The main challenge for me, today, is the need to compete with myself and strive to ensure that each next premiere is brighter and more talented than the previous one.”
Eifman brings the spirit of hard work and dedication directly into the studio, expecting the most refined work ethic from his dancers.
“Almost every dancer accepted into our troupe has to be retrained. Even the most impeccable classical training does not mean that a dancer will perform the repertoire of a modern psychological ballet theater with high quality. There are dancers who adapt relatively quickly to a choreographic language that is completely new to them. But, unfortunately, there are many people for whom our aesthetic is inaccessible due to the specifics of the psychophysical nature and stage mentality.
“With the establishment in St. Petersburg of the Boris Eifman Dance Academy designed to train universal dancers of the third millennium, the personnel situation began to change for the better. Many graduates of our choreographic school are already successfully working in Eifman Ballet. You can see them in The Seagull. A Ballet Story.”
Criticism
One of the main criticisms of ballet culture relates to the unbreachable hierarchies in major troupes. Eifman admitted that his company is no stranger to these structures.
“Like anywhere else, we have a corps de ballet, young soloists, and recognized stars,” he explained. “But the status of each dancer is not something lifelong and unchangeable. Many of the current Eifman Ballet soloists started out in the corps de ballet. There is no favoritism in my company. Everyone gets their chance. The main criteria are the dancer’s talent and hard work. And also the willingness of a dancer to accept our philosophy.
“As an absolute leader, I am obliged to ‘infect’ the dancers with my artistic ideas and create a single creative organism. This is the only way to turn them into true companions. There are theaters where the dictatorship of the individual reigns. In Eifman Ballet, we have established the dictatorship of an idea and a creative thought. Moreover, I am its first victim.”
Eifman looks forward to sharing this latest work with his loyal audience in Israel. In a period in which most foreign troupes have canceled their engagements due to the political situation, Eifman opted to return.
“Maybe I’m an idealist, but I believe in the special power of high art. Yes, today’s reality is filled with conflicts and contradictions. The overwhelming majority of public life institutions in one way or another contribute to the disunity of people. What can unite us? Only art that speaks to the human heart. And, first of all, it is ballet that overcomes any barriers and is equally understandable to representatives of all cultures, religions, and political views.
“The mission of Eifman Ballet is to immerse people in the world of choreographic fantasies that we create, to introduce them to a ballet repertoire that has no analogs, giving our audience a unique charge of spiritual and emotional energy.”
Eifman Ballet will perform at the Tel Aviv Performing Arts Center from September 25-30. For more information, visit www.kartisim.co.il
