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2019舞蹈演出季 俄罗斯圣彼得堡艾夫曼芭蕾舞团《安娜·卡列尼娜》- 广州站

2019舞蹈演出季 俄罗斯圣彼得堡艾夫曼芭蕾舞团《安娜·卡列尼娜》- 广州站

时间:2019.09.26-09.27

场馆:广州大剧院 歌剧厅

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2019舞蹈演出季 俄罗斯圣彼得堡艾夫曼芭蕾舞团《安娜·卡列尼娜》

——穿透灵魂的心理芭蕾,美到窒息的巅峰之作


艺术总监、编舞 | 鲍里斯·艾夫曼

原著 | 列夫·托尔斯泰

音乐 | 柴科夫斯基

布景 | 奇诺维·马戈林

服装 | 瓦切斯拉夫·奥库涅夫

灯光 | 格莱布·菲尔施丁斯基

首演日期 | 2005年3月31日

俄罗斯圣彼得堡艾夫曼芭蕾舞团被誉为“俄罗斯芭蕾新名片”。在这支高海拔高颜值的芭蕾舞团里,女舞者的最低身高175,男舞者最低身高183,爱恨痴缠如烈火一般焚尽生命的炙热情感,由艾夫曼芭蕾舞团身材修长、动作幅度舒展的舞者来表现,有种赴汤蹈火的极致、义无反顾的决绝。此次将是该天团首度访穗,带来其最为经典的作品。


《安娜•卡列尼娜》是艾夫曼最杰出的作品之一,新芭蕾有着无尽的能量和情绪感染力。——Robert Johnson,《明星纪事报》

每一次幕布落下之时,所有观众都会起立欢呼鼓掌——这对艾夫曼持续数小时的《安娜•卡列尼娜》来说并没有什么好惊讶的。虽然它充斥着华美的服装、恢弘的制作和俊美的舞者,但是它带给观众的远不止视觉上的欢愉。——Ann Murphy,《纽约客》

这部剧作高潮迭起,让观众不禁为了艾夫曼舞团执著热情与艾夫曼本人的创作天赋鼓掌喝彩。——Laura Thompson《每日电讯报》


鲍里斯•艾夫曼的芭蕾舞剧《安娜•卡列尼娜》是一部充满情感张力的作品,他能够极其准确地把握人物心理的表达。他抛开了列夫•托尔斯泰小说中所有的故事副线,将重点集中在了安娜、卡列宁和沃伦斯基的爱情纠葛上。

艾夫曼用舞蹈的语言勾勒出一个女人的重生。他认为,对爱和激情的渴求是一种人类本能,它促使女主人公奋起反抗当时的生活法则,让她的母性之爱沦丧,让她的内心世界坍塌,使她义无反顾不计代价地挥霍她的激情,向它臣服并最终为之毁灭。

艾夫曼认为,他的芭蕾剧不是在讲述过去,而是在述说现在:剧中的情感超越时空并与现实相呼应,即使是现代的观众也能够被其唤起共鸣。剧团舞者高超的舞技与艾夫曼惊为天人的编舞向我们淋漓尽致地展现了托尔斯泰小说的精神所在。


编舞自述

芭蕾舞剧是一种独特的艺术形式,它总是能唤起观众的心理变化。在芭蕾舞剧中我们有机会潜入观众的潜意识,每一部剧作都是一次对未知的探索。

托尔斯泰的《安娜•卡列尼娜》总能唤起我的强烈兴趣。读托尔斯泰的时候,我们能发现作者何等深刻入髓地理解着主人公的心理世界,何等准确、犀利地描述着俄罗斯的生活,这让我们在小说中能够亲临安娜复杂的心理世界。甚至在当代的文学中我们也很难找到如此激荡的热忱、蜕变和迷幻的情感变化。这些都成为了我编舞的核心灵感。

卡列宁家族的生活总是循规蹈矩,丈夫在官场中地位显赫,家人其乐融融,他们用这一派平和的假象满足着所有的社会期待。安娜对沃伦斯基的情热是对他们平静生活的致命打击。不料情人间相互猜忌,不再彼此坦诚;尽管安娜反感沃伦斯基的假冒伪善,但仍无所保留地爱着他,甚至疏远了自己的儿子。她开始变得孤僻叛逆,无法再去享受上流社会的活动,身上泛着一种只有陷入了不伦恋情悲剧的女人身上才有的感觉。这段恋情让所有被牵连的人都深感痛苦,于是安娜最终用自杀将自己从悲惨绝望的生命中解脱出来。

对我来说安娜有着两面人格:表面上她作为卡列宁的妻子和儿子的母亲,过着光鲜亮丽的上流社会生活,而另一面她却堕落在情热的世界无法自拔。

对于生活至关重要的是什么?应该艰辛地维持着责任与感情的平衡,还是坦诚地屈服于对热情的渴望?我们有没有权利为了肉体之欢牺牲对家庭的关爱?

这些问题一直萦绕在托尔斯泰的心中,但是一百余年后的今天,我们仍然没有解决这些问题——答案远没有我们想象的那么简单!我们可以确定的事实只有这一个,那就是我们都渴望他人对自己的理解,无论是在我们或者还是死了的时候。


剧情梗概

第一幕

在圣彼得堡,安娜•卡列尼娜过着看似美满的家庭生活。

在一次上流社会的舞会上,已为人母的安娜•卡列尼娜偶遇年轻英俊的军官沃伦斯基。

卡列宁夫妻发生争吵,关系不和。

安娜与沃伦斯基在一次马赛上再次相遇,二人深深坠入爱河。

关于卡列宁夫妇不和的流言蜚语流传开来,这极度困扰着安娜的生活。

在一次等待已久的幽会中,安娜与沃伦斯基的感情迸发而出,理性的顾虑终被打败。

在一次与卡列宁的对峙中,安娜陷入了更深的痛苦。

夫妻二人暂时和解。


第二幕

沃伦斯基在他的军官俱乐部。

在一次与卡列宁的会面后安娜离家出走。

在威尼斯的一次舞会上,安娜和沃伦斯基的感情出现了裂痕。

在圣彼得堡上流社会的朋友们纷纷疏远了安娜。

吸食鸦片使安娜陷入了幻觉。

在极度的绝望中,安娜最终结束了自己的生命。


舞团介绍

俄罗斯圣彼得堡艾夫曼芭蕾舞团成立于1977年。当时年仅31岁的舞蹈编导鲍利斯•艾夫曼离开暮气沉沉的马林斯基剧院芭蕾舞团,率领一大批同样不安分的青年才俊,创建了“列宁格勒新芭蕾舞团”,开始了新的艺术探索。舞团自创始之初,就被看作是一股芭蕾革新力量,其艺术创作更新了俄罗斯古典芭蕾的概念,把芭蕾舞的情绪表达和戏剧冲突推至极限。舞团的首场演出不但受到观众和芭蕾评论家的热烈回应,还掀起了对于俄罗斯芭蕾发展新趋势的广泛热议。

1988年,艾夫曼芭蕾舞团首次登上欧洲舞台,在巴黎香榭丽舍剧院的首秀一鸣惊人,凭借既保持俄罗斯芭蕾流派严谨规范、技巧高超、善于抒情的底蕴,又将二十世纪舞台艺术与电影表现手法融合的独特风格,震撼了每一名观众,这种最新的芭蕾发展潮流震惊了世界,彻底改变了世界观众心目中俄罗斯只有《天鹅湖》的印象,评论家认为“艾夫曼芭蕾舞团以其对人性的深刻理解与揭示和对错综复杂的尖锐矛盾的诠释,来展示一位舞蹈编导大家与众不同的舞剧观及驾驭舞剧的才能”,自此被称为“俄罗斯芭蕾的新名片” !

艾夫曼芭蕾舞团还是亚洲及欧美最受欢迎的芭蕾舞团之一,每年能在本国观看到他们演出的时间不足两个月,该团在当地的演出长期处于一票难求的状态。其《我,堂吉诃德》、《红色吉赛尔》、《俄罗斯的哈姆雷特》、《安娜• 卡列尼娜》、《海鸥》、《奥涅金》、《罗丹》、《卡拉马佐夫兄弟》、《安魂曲》、《柴可夫斯基》等芭蕾作品不仅展现了俄罗斯当代芭蕾艺术的最高水平,也蕴含着俄罗斯不朽的精神遗产和世界文化的智慧。他们不断用创新的方式诠释文化的内涵,带领着观众进入一个高雅的艺术世界。

艾夫曼芭蕾舞团于1998年获得俄罗斯政府授予的“国家艺术团”,这是俄罗斯艺术团体的最高荣誉,同时享有此荣誉的还有马林斯基芭蕾舞团和莫斯科大剧院芭蕾舞团这两个世界知名的芭蕾舞团。


主创介绍

艺术总监

鲍里斯·艾夫曼

鲍里斯·艾夫曼是当今俄罗斯舞坛上最有特色、最受欢迎的编舞家之一,其艺术生涯在当今舞坛持续辉煌灿烂达几十年之久。他创作过四十多部的芭蕾舞剧,创建了自己的风格、自己的舞团和芭蕾学校。他被人们称作“全世界首屈 一指的编舞家之一”,并曾荣获“俄罗斯人民艺术家”称号,获得“俄罗斯联邦国家奖”、“金面具奖”、“金天幕奖”及多个国际奖项。此外他还是俄罗斯国家贡献勋章的获得者。

艾夫曼出生于西伯利亚,自幼便展现出过人的舞蹈天赋,他常说:“芭蕾于我而言不仅是一个职业,它是我存在的意义,是我来到这个世界的使命。”在结束了列宁格勒音乐学院和瓦岗诺娃芭蕾舞学校的求学生涯之后,艾夫曼于1977 年创立了自己的芭蕾舞团——列宁格勒新芭蕾舞团,也就是今天声名远播的圣彼得堡艾夫曼芭蕾舞团的前身。他和他的舞者们,不仅有着坚实的古典芭蕾舞基础,同时不断积极创新,丰富芭蕾舞蹈语言,很快便被看作是俄罗斯芭蕾新生代代的中坚力量。

艾夫曼认为新世纪要求推陈出新的舞蹈编排,并应贴近反映现代人类。他热切关注时下问题,公开就人类生活的复杂性和戏剧性与观众展开讨论。他将“心理芭蕾”定义为自己的舞蹈风格:“我全部的舞蹈创作就是为芭蕾寻求一个更加广阔的空间,寻找一种能够表达人类精神生活的身体语言。舞蹈对我来说不止是对身体的拓展,更是一种精神上的探索”。

鲍里斯·艾夫曼和他的舞团的最核心的艺术任务是,在底蕴丰厚的传统俄罗斯“心理戏剧”的基础上,创作独具一格且富有革新精神的新剧目,创造一种21 世纪需求的新的舞蹈编导方式。




2019 Dance festival

Anna Karenina by St.Petersburg Eifman Ballet

A ballet by Boris Eifman

Based on the novel by Leo Tolstoy

Music: Pyotr Tchaikovsky

Sets: Zinovy Margolin

Costumes: Vyacheslav Okunev

Light: Gleb Filshtinsky

Premiere: March 31, 2005


Review

“Anna Karenina is among Eifman's greatest works. The new ballet is relentless in its energy and merciless in its emotional impact.”

Robert Johnson, Star-Ledger

“As the curtain came down on Boris Eifman’s evening long ‘Anna Karenina’ the audience rose to its feet and cheered. It was impossible to be surprised. Large numbers of the audience were not just visually pleased by the ballet, although they were that and had a right to be: the costumes were sumptuous, the sets were grand, the dancers were gorgeous.”

Ann Murphy, New York.

“This production exerts a relentless grip.” “…the production leaves one applauding the Eifman company for its passionate integrity, and Eifman himself for a gift for showmanship.”

Laura Thompson, The Daily Telegraph

Boris Eifman’s ballet Anna Karenina is a true burst of inner psychological energy and is amazingly precise in delivering emotional impact upon its viewers. By setting aside all secondary storylines in Leo Tolstoy’s novel, the choreographer focused on the love triangle “Anna – Karenin – Vronsky”.

Using dance language, Boris Eifman in his ballet managed to portray the drama of a woman being reborn. According to the choreographer, it is the love passion, the “basic instinct” which has led the heroine to the breach of the then current norms of social morality, killed motherly love in Anna Karenina and destroyed her inner world. Being so completely consumed and crushed by passion, a woman is ready for any sacrifice.

The choreographer says that his ballet speaks not of previous times but of today: the timeless emotional content of the performance and obvious parallels to reality can’t leave the contemporary viewer indifferent. The brilliant technical mastery of the company’s dancers and Boris Eifman’s astounding choreography present to us in a remarkably impressive way all the aspects and peripeteias of the Tolstoy’s novel.

“Ballet is a very specific realm where psychological drama is reenacted and fulfilled; it is a chance to get an insight into the subconscious. Every new production is a search for the unknown.

The Anna Karenina novel by Tolstoy has always been the object of my keen interest. While reading Tolstoy, one can see how fully and intimately the author understands the inner world and psychology of his heroes, how keenly and precisely describes he the life in Russia. In the novel one will find a plunge into the psychological world of the chief character and also a psycho-erotic interpretation of her personality. Even in our contemporary literature we won’t find similar passions, metamorphoses and phantasmagoria. All this has become the gist and essence of my choreographic reflections upon the book.

The measured, regular life of the Karenin family – the husband’s public service, the strict high society conventions – produced an illusion that harmony and peace reign there. Anna’s passionate love for Vronsky destroyed the «matter of course» in their existence. Sincerity of the lovers’ feelings was doubted and rejected, their frankness was afraid of. Karenin’s hypocrisy was acceptable to everyone but Anna. She preferred the all-absorbing love for Vronsky to mother’s duties regarding her son. And thus she doomed herself to lead the life of an outcast. She saw no pleasure in traveling or in habitual high society entertainments. There was a feeling that a woman is tragically constrained by sensual relationships with a man. This sort of dependence – as any other one – brings pain and suffering. Anna committed suicide to set herself free, to end her dreadful and agonizing life.

For me Anna was sort of a ‘shape shifter’ because two persons lived within her: externally she was a high society lady known to her husband Karenin, to her son and to everyone around. The other one was a woman immersed into the world of passions.

What is a more important goal in life: to maintain the conventional illusion of existing harmony between duty and feelings, or surrender to a sincere passion?.. Do we have a right to destroy our family, to deprive a child of his mother’s care just for the sake of what our flesh lusts for?...

All these questions haunted Tolstoy in his times, and we can’t avoid thinking them over again and again today. But answers are still far-off! What remains there is only our thirst for being understood both in our life and death…”


Boris Eifman

Synopsis

Act I

The scene opens with Anna Karenina in the heart of her family in St. Petersburg.

At a high society ball, Anna meets a dashing young officer Count Vronsky.

In the Karenin household there is marital discord.

Anna and Vronsky meet again at the horse races, they fall deeply in love.

Anna’s life becomes difficult as rumours and gossip starts to spread about the Karenin’s relationship.

At a long-awaited assignation passion overcomes the lovers’ rational thoughts.

After a confrontation with Karenin Anna is overcome with dark thoughts foreboding.

The married couple makes a reconciliation.


Act II

Vronsky is at his officers club.

Following a meeting at the Karenins` home. Anna leaves her husband.

At a Carnival in Venice. The affection between Anna and Vronsky begins to break down

In St. Petersburg high society turns its back on Anna. She becomes shunned and isolated.

In an opium induced state of mind, Anna is in the grip of visions and fantasies.

Final despair. Anna’s suicide.


St.Petersburg Eifman Ballet

Saint Petersburg Eifman Ballet, established by Boris Eifman in 1977, was from day one recognized for its new and innovative concept of ballet. The company’s first performances already stirred the interest of the audiences and ballet critics who argued about new tendencies in Russian ballet.

In the 1980’s the choreographer and his company, characterized by an outstanding dance intellect, continued to explore new genres and develop new repertoires which are all distinguished for their strikingly sharp choreographies, intended to express the fiery passion of the ballet characters.

Today St. Petersburg Eifman Ballet is renowned among ballet lovers in Asia, Europe, the Americas and in Australia for such ballets as I, Don Quixote; Red Giselle, Russian Hamlet, Anna Karenina, The Seagull, Eugene Onegin, Rodin, Beyond Sin, Requiem, Tchaikovsky. These works not only represent the highest artistic level of achievements of contemporary Russian ballet, but also welcome the spectators into the immortal spiritual heritage of Russian and world culture that inspired the choreographer and his dancers. The creativity and innovation of Eifman Ballet and their new interpretations of cultural masterpieces carry a huge educational potential to involve a wide audience into the world of high arts.

Boris Eifman’s endeavor to engage his spectators in the infinite world of human passions, to form a spiritual liaison with the audience, to amaze viewers by the brilliance and dynamism of his plastique – all this has ensured a decades-long success of Eifman Ballet’s performances at leading venues around the globe.


Artistic Director: Boris Eifman

Boris Eifman is one of the few, if not the only Russian choreographer who’s energetic and brilliant artistic life has been going on for several decades. He has created more than forty ballet performances and obtained honorary titles such as the People’s Artist of Russia, the Laureate of the State Prize of the Russian Federation, the laureate of the Golden Mask and the Golden Soffit, he is also the holder of the Order of Merit for the Fatherland, and many international prizes and titles.

The choreographer was born in Siberia and received his ballet degree from the department of choreography of the Leningrad Conservatory. Already in 1977 he set up his own company – the Leningrad New Ballet today known to millions of art lovers as St. Petersburg Eifman Ballet. The choreographer and his outstanding dancers are known for creating the new dance repertory of modern Russia. According to Boris Eifman a new century demands new choreographies that closely reflect the modern human being. Earnestly concerned with the problems of today Boris Eifman openly speaks with his audience about complicated and dramatic aspects of human life; he defines his genre as “psychological ballet”. “Throughout my creative life I’ve been expanding the boundaries of the ballet theatre and, first and foremost, searching for a body language capable of expressing the life of human spirit. Dance isn’t a physical process for me, but a spiritual one”, - says Boris Eifman.

Forming a special and innovative repertoire based upon the rich traditions of Russian psychological theater, and new choreography of the XXI century are among the key priorities within the artistic mission of Boris Eifman and his company.

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