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[售票]2019舞蹈演出季 俄罗斯圣彼得堡艾夫曼芭蕾舞团《卡拉马佐夫兄弟》

演出场馆:广州大剧院歌剧厅 演出时间:2019-09-28 门票价格: 180元-880元 邮政包邮

日期/场次:
2019-09-28
周六 19:30
2019-09-29
周日 19:30
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2019舞蹈演出季 俄罗斯圣彼得堡艾夫曼芭蕾舞团《卡拉马佐夫兄弟》


--穿透灵魂的心理芭蕾,美到窒息的巅峰之作

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艺术总监、编舞 | 鲍里斯·艾夫曼

原著 | 费奥多尔·陀思妥耶夫斯基

音乐 | 理查德·瓦格纳,莫杰斯特·穆索尔斯基,谢尔盖·拉赫玛尼诺夫,

舞美和服装 | 瓦切斯拉夫·奥库涅夫

首演日期 | 2013年4月29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。

"鲍里斯·艾夫曼是一个超级'戏剧魔术师',他非凡的编舞才能毋庸置疑。我们唯一的疑惑是:他到底是20世纪最后一位还是21世纪的首位舞蹈编舞大师。

--克莱夫·巴恩斯《纽约邮报》

芭蕾世界苦苦寻觅的编舞大师已经出现了,他就是鲍里斯·艾夫曼!

--安娜·基塞格夫《纽约时代》

《卡拉马佐夫兄弟》这部芭蕾舞作品是名编舞鲍里斯·艾夫曼对陀思妥耶夫斯基同名小说的全新诠释。艾夫曼通过从根本上对这部杰出的俄罗斯文学作品的反思,创造了一个感情丰富的、充满哲理的芭蕾作品。

这部舞剧通过现代的技术和艺术表现方式再次提出了古老的"诅咒"问题。在二十一世纪初期普世价值观危机的背景下,编舞通过芭蕾的形式表现了诸神间的战争,无信仰和有信仰的对抗,以及罪恶的本质和精神的救赎的过程。

编舞自述

《卡拉马佐夫兄弟》是陀思妥耶夫斯基具有创造性的作品,是他在一生中,通过巨大的焦躁的思想所进行的哲学探索的顶峰。在过去二十年,通过观察国家历史前进的历程,我一直反复确认这部关于这位伟大作家遗嘱的文学作品中的历史相关性。

《卡拉马佐夫兄弟》这部舞剧继续和发展了心理芭蕾艺术,并努力完成另一个同样复杂的任务,即创造一部和陀思妥耶夫斯基的伟大探索相同的,拷问劣根性遗传和破坏性情感的舞台艺术。

这部舞剧是一次研究卡拉马佐夫家族道德沦丧的尝试,对人性宽泛原始本质的理解,对人类内心和灵魂深处,上帝和恶魔斗争的地方的秘密解读。

总体上说,我拒绝将所有小说中的故事线搬上舞台,集中将目光放在通过角色之间的争斗,创造出穿透灵魂的舞台作品。

这部舞剧是一次探索人类幸福的研究。虽然再认真思考人类恶性和罪恶的力量的过程中,我们不能获得绝对真理。但通过这个过程,我们却能在这个不完美的、变化万千的世界中一步步更好的理解自身。

剧情梗概

第一幕

故事的主人公--德米特里、伊凡、阿廖沙--性格迥然不同的三兄弟之间有着难以言说的微妙关系,而他们的父亲老卡拉马佐夫,是这散发着恶臭和罪恶的故事的根源。阿廖沙是修道士,有着难以驯服的野性,即使他试图克制也徒劳无用。老卡拉马佐夫和长子德米特里为了女子格露莘卡争风吃醋、醉酒纵欲并试图将所有人卷入情欲罪孽中。

母亲对他们来说是令人恐惧的存在。平日诡异的平静下隐伏着一系列的家族丑闻,家族成员在斗争的纠缠中日益堕落,就连看似正直的男孩阿廖沙也不能幸免于此。他不但不能帮助最亲爱的人逃离逼迫,还发现自己也继承了卡拉马佐夫家族血液中的卑劣性,且这种卑劣性还在不断增长。

不久,整个家族都陷入了老卡拉马佐夫和德米特里争夺格露莘卡的战斗中--老卡拉马佐夫被杀,德米特里被指控杀害了父亲。

第二幕

伊凡和阿廖沙为生存和灵魂的意义争论不休,在伊凡的世界论中有一个充满罪恶的世界,这个世界中有大审判官耶和华和基督的存在。伊凡坚定的认为只有暴君才会把人创造成软弱的个体,让他们处于不温不火的幸福中。而阿廖沙认为人们有能力从恐惧中解脱自己,拥有可以明辨善恶的自由意志。

格露莘卡有献身的冲动,她渴望心灵的纯净。她来到了身陷冤狱的德米里特身边,两个人在温存中难舍难分。

伊凡在良心的拷问中苦苦挣扎:他谴责自己弑父的恶念。现实和幻想在他脑中纠缠不清。

伊凡和阿廖沙来监狱探望德米里特时,他们偶然了解到彼此是一奶同胞的兄弟。

德米里特曾梦想和格露莘卡结婚,但已经不能拥有她了--残忍的现实随之而来。

阿廖沙见不得人受罪,由于他对兄弟的爱,他释放了在死刑室的死刑犯人,而这恰恰毁了他们的未来。他们开始深深质疑"存在即合理"这句话。

家族走向了可怕的结局:老卡拉马佐夫被杀,德米里特被关押,伊凡失魂落魄,阿廖沙为无数无辜受害者命运担起责任……

无论一个人多么罪孽深重,如果他为自己的罪孽忏悔,都可以被救赎。

俄罗斯圣彼得堡艾夫曼芭蕾舞团

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。

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

Beyond Sin by St.Petersburg Eifman Ballet


Time: 2019/09/28-29 (Sat. - Sun.) 7:30 pm

Venue: Opera Hall, Guangzhou Opera House

Price: TBD

Running time: 100 minutes (with 15 minutes intermission)

A ballet by Boris Eifman

Based on The Brothers Karamazov

novel by Fyodor Dostoyevsky

Music: Richard Wagner, Modest Mussorgsky,

Sergei Rachmaninoff

Sets and costumes: Vyacheslav Okunev

Light: Boris Eifman

Premiere: April 29, 2013

Review

"There now need be no doubt that choreographer Boris Eifman - theatrical magician extraordinary - is here to stay. Perhaps the only doubt is whether he is the last major choreographer of the 20th century or the first of the 21st".

Clive Barnes, New York Post

"The ballet world in search of a major choreographer need search no more. He is Boris Eifman".

Anna Kisselgoff, The New York Times

"Man is a mystery. It needs to be unravelled, and if you spend your whole life unravelling it, don't say that you've wasted time. I am studying that mystery because I want to be a human being." These words of Fyodor Dostoevsky perfectly match the task of describing the ballet life of Boris Eifman who in each of his works intently and earnestly studies the most complicated aspects of life and spirit.

The Beyond Sin ballet is a new choreographic interpretation of Dostoevsky's novel The Brothers Karamazov. By having fundamentally rethought and reworked his own earlier world renowned production The Karamazovs of 1995, also based on this timeless masterpiece of Russian literature, Boris Eifman created an emotionally rich and full of philosophy psychodrama ballet.

Beyond Sin is a modern in technical and artistic-expressive respects scenic creation which broaches age-old "accursed" questions. In the context of the almost universal value crisis of the early XXI century, the choreographer turned to the non-negotiable, secure ethical foundations and staged a ballet on the subjects of theomachy and God-seeking, of faithlessness and faith, of the nature of sin and of spiritual salvation.

"The Brothers Karamazov novel was the epitome of Dostoevsky's creative development, the acme of the philosophic investigation carried out by this colossal and restless mind throughout his life. For the last two decades, observing the march of the contemporary history of our country, I have kept getting convinced again and again of the all-time relevance of this work of literature regarded as the spiritual will and testament of the great writer.

Expanding the potential of body language as a way of exploring the inner world of man, we offer our vision of the key ideas of the novel. Beyond Sin both carries on and develops the tradition of the psychological ballet art and strives to accomplish another equally complicated task - to create a choreographic art equivalent to the subject so masterfully investigated by Dostoevsky - that of the racking burden of destructive passions and of bad heredity.

The Beyond Sin ballet is an attempt to study the origins of the moral catastrophe of the Karamazovs, to understand the primal essence of the 'excessively broad' human nature, the mystery of the inner life of human hearts and souls where 'God and Devil are fighting.' Having, on principle, rejected the idea of putting on stage all story lines of the novel, I focused on the process of creating choreographic insights into the souls of the main characters beset with internal conflicts.

In The Brothers Karamazov there is expressed a pivotal idea: if there is no God then 'all things are lawful.' Our modern times could be comprehensively described with a different expression: 'God exists, and yet all things are lawful.' For this very reason time is now ripe to rethink the issues and problems which haunted Fyodor Dostoevsky and his heroes. A search for the ways to the happiness of mankind, the price to be paid for such a harmony, the power of vice and sin over man, the nature of true faith - one who seriously ponders over these topics simply cannot cherish hopes for attaining absolute truth. But touching upon them we are step by step moving toward a better understanding of ourselves in this imperfect and ever-changing world."

Boris Eifman

Synopsis

Act I

For all the multitude of differences which divide them, Dmitri, Ivan and Alyosha are linked to each other by invisible threads: for the 'stinking, sinful' blood of their father, Fyodor Pavlovich Karamazov, runs in their veins. The monk Alyosha tries in vain to soften the impact of passions which have got out of hand. He is an observer of the bitter rivalry between his father and brother Dmitri for the favors of Grushenka, of his father's constant drunken orgies, of his willingness to entangle everyone in a sin of lust.

A series of scandals are replaced by rare moments of peace, in that the brothers' hearts are filled with shrill image of the mother, but then feud is erupted with renewed force But not only is Alyosha incapable of helping his nearest and dearest, he too discovers within himself to an increasing degree the despicable traits of 'Karamazov'.

The whole family is drawn into the battle for Grushenka between Fyodor Pavlovich and Dmitri. Fyodor Pavlovich is killed... and Dmitri is accused of his father's murder.

Act II

Ivan and Alyosha argue endlessly about the meaning of existence and about human soul. Their argument assumes material form in the figures of the Grand Inquisitor and of Christ, who has come back to the sinful world, in the legend composed by Ivan. The Inquisitor-Ivan asserts that only tyranny can give people 'weak creatures such as they have been created, peaceful, humble happiness.' But Christ-Alyosha wishes to free people of their fear and to provide them with 'a free heart so that they may determine what is good and what is evil.'

Grushenka is covered by the sacrificial impulse and desire for the complete purification, she comes to the prison to Dmitri. Innocently convicted, he is hardly going through a separation from his beloved.

Ivan is lacerated by pangs of conscience: he accuses himself of having harbored a wish to kill his father. Reality and fantasy become confused in his mind…

Ivan and Alyosha come to visit Dmitri. Here, in the prison bars, the brothers cognize kinship.

Dmitri has dreams about wedding with Grushenka, but it's impossible to take her in his arms - the ruthless awakening comes.

Alyosha is unable to watch human suffering and, driven by love for his fellow men, he frees the convicts incarcerated in 'The House of the Dead'. Their heads reeling from the belief that 'all things are lawful' to them, the convicts destroy everything on their path.

The family come to a dreadful end: Fyodor Pavlovich is murdered, Dmitri is in jail, Ivan goes off his head, Alyosha is made responsible for the fate of numerous innocent victims... But, however far sinful man may fall, he may be saved if he repents for his sins.


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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