TCHAIKOVSKY: The MYSTERY OF LIFE AND DEATH
- 2013 06.28~ 06.30
- Opera Theater, Seoul Arts Center
- Running time
- 150 min
- Standard price
- R 80,000 / S 60,000 / A 40,000 / B 20,000 / C 5,000
“Pyotr Ilyich Tchaikovsky is one of Boris Eifman’s favorite composers.Eifman learned about hellish pain within Tchaikovsky through his biography.
The sad elements of his music never sounded the same again. Hewanted to share it with the public. This is how “Tchikovsky: the Mystery
of Life and Death” was started.”
This is what Boris Eifman wrote in the introduction to his masterpiece.While all the others in the Soviet Union pursued the traditional style of choreography, he studied the contemporary Western choreography and created his own style. When he founded his own ballet company, he called it “ballet theatre” to emphasize the dramatic element in his ballet.But his drama is composed of dance. But there is no doubt in that he is a successor of the Russian tradition in that he can utilize “Swan Lake” and “The Nutcracker” at his ease and will.
Externally, this ballet is of Tchaikovsky’s life. It starts with Tchaikovsky facing his death but recollecting his past. In order to conceal homosexuality,he married a woman whom he did not love. Eventually, the marriage fails. His relationship with his patron is at risk, too. But what this ballet truly is about is the internal world of Tchaikovsky the pain of composing music and his life oscillating between the reality and delusion. Eifman visualizes it with two Tchaikovsky figures: the one in reality and his alter ego, reflecting his internal world. His alter ego irritates and teases Tchaikovsky like a black swan; he also reveals his sexuality and inclination towards the Nutcracker Prince.
In the production note, Eifman emphasized that “this ballet is not of the personal history of Tchaikovsky. It is merely an attempt to visualize the tragic elements of his music.” However, it is difficult to discern an artist’s daily life and his artistic world. It is their fate to live in the reality in which both praise and criticism on their work exist. For this reason, Eifman concludes that “Tchaikovsky’s life never stops to communicate with his ego. His music is a confession full of pain and anger.”
|Choreographer||Boris Eifman보리스 에이프만|
|casting & author