Main Stage

"Russian Hamlet" ("The son of Ekaterina velikoy")
ballet in 2- X reports to the music Of l.Betkhovena and G.Malera
libretto and choreography Boris Eyfmana
Khudozhnik - Vyacheslav Okunev
imperatrits - zasl.art.Rossii of Helen kuz’min, faith arbuzova syn empress (heir) - zasl.art. Russia Igor Markov, Aleksandr mel’kayev favorit empress - zasl.art.Rossii Albert galichanin, Yuri ananyan zhen heir - Alina solonskaya, Natalie Pozdniakov prizrak the father of heir - Aleksandr rachinskiy

The new ballet of Boris Eyfman - "not historical chronicle, but choreographic fantasy", thus determined genre ballet master himself. At the basis of play - reflection about the personality of Pavel I, whom even with the life was called "Russian Hamlet": the similarity of the collisions of Shakespearean tragedy and events of the palace coup of 1762, as a result of which Ekaterina II ascended the throne, it was undoubted. Without recreating historical realias, Eyfman is turned to the sources of the sincere confusion of emperor Pavel I, vidya in the tragic contradictions of his childhood and youth the sources of the errors, perfected subsequently by Pavel into the short fourth anniversary of his administration. The fate of Pavel is covered with many secrets. Originated with the bright attitude, lustrously formed, it prepared itself for the service to the fatherland. By the edict of father, Peter III, confirmed later and by the edict of Ekaterinas of 26 December, 1762, Pavel was officially proclaimed the heir of throne. However, to await for his tsarevich it was necessary thirty four years... As if attempting to make up the missed time understanding, as is strong opposition, Pavel I hurried to conduct state conversions, sharply changed the course of domestic and external policy. Much of his innovations pinched the rights of nobility, which accustomed to the liberty and the official benefits of the magnificent court of Ekaterinas. And the dramatic life of "Russian Hamlet" was completed tragically - Pavel was killed with the indirect participation of his eldest son of Aleksandr.
"the hero of our play - young tsarevich Pavel. This is the period of its bright ambitious desires and first tragic catastrophes, says Boris eyfman. - the murder of father, the dislike of mother, who was fearing herself her son- heir, the atmosphere of a constant shadowing, intrigues, fear and humiliations - immersed young prince into the peace of fantastic hallucinations, delusion of persecution and spiritual solitude. Specifically, in the early years was conceived the tragic, black attitude of Pavel, with whom it then lived entire its life." The new play of theater - this not so much view on the history of Russia, complete of tragic pages, as search for its answer to the eternal Gamletovskoye "to be or not to be?"
In the play it will be possible to see not only the famous soloists of the theater: Igor Markov, Helen kuz’minu, Albert Galichian, faith arbuzovu, Yuri ananyan, Aleksandr rachinskogo, but also to be introduced to the new artists - Alina solonskoy, Natalie pozdnyakovoy, Aleksandr Melkayev.

Boris Eifman, the founder and creator of his own theater, his own style, and his own ballet universe, who is called “one of the leading choreographers in the world” and an “amazing magician of the theater”, was born in 1946 in Siberia, into a family that was connected neither with ballet nor the theatre. From early childhood, however, he wanted to express his feelings and his thoughts in body language, in dance. He himself would later say, “For me, ballet is more than a profession. It is a means of existence, my mission on this earth. Using its resources, I am compelled to convey what is given to me from on high. Most likely, I would simply suffocate on my emotions if I didn’t have the possibility of expressing them through art. For me, choreography is art that is deeply religious, in the broadest sense of the word.”

The innate sense of movement and the “instinct to compose” brought him to the Leningrad Conservatory, where he studied in the Choreography Department, and then to the Vaganova Academy of Russian Ballet, where he worked for ten years as a choreographer, composing new works for student performances. Finally, in 1977, he formed his own ballet ensemble. This is the moment when the Eifman story began, as, with his talent, with his blood and sweat, with his energy, dedicating himself a full twenty four hours a day, he began to create his own theatre.

Eifman brilliantly combined cutting-edge achievements in the world of ballet with what he learned in the academic school of classical Russian choreography, to which he traces his roots. “What I do can be called the dance of emotions, free dance, a new language, in which classical ballet, modern dance, ecstatic impulses and many other things are interwoven…,” he said at the time. His dancers, who had an exclusively academic grounding, had to acquire a new vocabulary of body movement.  It was a completely different kind of choreography, whose fundamental principle came into being as the troupe was formed by Eifman.