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 演出时长:  

*总时长约120分钟，含中场休息；
*一人一券，1.2米以下儿童谢绝进场；
*本场演出开放乐池坐席。

 

 

 

 

 

时隔四年终来华

2023中国巡演首站

俄罗斯芭蕾新名片经典佳作

高颜值高海拔舞者惊艳登场

饱满张力诠释托尔斯泰巨著

 

第十九届中国（深圳）文博会艺术节

俄罗斯圣彼得堡艾夫曼芭蕾舞团

芭蕾舞剧《安娜•卡列尼娜》

 

由鲍里斯•艾夫曼编舞

改编自列夫·托尔斯泰小说

 

背景音乐：柴可夫斯基

舞台设计：辛诺威·马格林

服装设计：瓦切斯拉夫·奥库涅夫

灯光设计：格列布·菲尔什汀斯基

首演日期： 2005年3月31日

两幕芭蕾舞剧，约120分钟，含中场休息

 

Anna Karenina

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

 

 

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。

 

“芭蕾是一个非常特殊的领域，心理剧在芭蕾领域再次搬上舞台得以实现；这是一个洞察窥探潜意识的契机。每一个新作品都是一次对未知的探索。”

 

“托尔斯泰的小说《安娜·卡列尼娜》一直令我产生浓厚的兴趣。在阅读托尔斯泰的同时，人们可以看到作者如何充分而亲密地了解他笔下描绘英雄们的内心世界和心理状态，作者如何敏锐而准确地描述了俄罗斯的日常生活。在小说中，人们将沉浸在主人公的内心世界中，并窥探到她情欲心理的人格诠释。即便在当代文学中，我们也很难找到类似的激情、蜕变和千变万化的幻想。所有这一切都成为我依据原著进行编舞的要旨和本质。

卡列尼娜墨守常规、循规蹈矩的家庭生活——丈夫的公职，严格的上流社会惯例——制造出一种和谐与平和的生活假象。安娜对沃伦斯基充满激情的爱恋摧毁了现实中多数“理所当然”的存在。情人之间的真挚感情受到怀疑和拒绝，他们的坦诚令人畏惧。除了安娜之外，所有人都能接受默许卡列宁的虚伪。她对沃伦斯基投入的全身心激情的爱恋，甚至胜过作为母亲对她儿子应有的责任。为此，她注定走向一种被人抛弃过着令人唾弃的生活。在她的眼里，四处旅行或者她曾习以为常的上流社会的消遣已经丧失了任何乐趣。这种一个女人因与男人的情欲关系受到束缚的悲惨情绪一直存在。这种依赖——与任何其他依赖一样——带来了无尽的痛苦和折磨。安娜用自杀的方式放过自己，获得自由，结束了她可怕而痛苦的生活。

对我而言，安娜有点像一个‘变形人’，因为在她身上寄居了两个人：表面看来她是丈夫卡列宁的妻子，她儿子的母亲，一个被所有人熟知上流社会夫人。另一个是沉浸在激情世界中的女人。

一生中更重要的终极目标是什么：为了职责与感情目前稳定的和谐状态，维持传统错误的观念，或者屈服于真挚的激情？我们是否有权为了我们肉体的欲望，摧毁家庭，剥夺孩子享有母亲照顾的权利？...

所有这些问题在托尔斯泰的时代都困扰着他，时至今日，我们无法避免不断地再去思索，然而答案依旧遥不可及！剩下的只有我们的生命和死亡终有一日能够被理解的渴望……”

 

鲍里斯·艾夫曼

【演出卡司】

10月26日，20:00

 

安娜 ANNA

玛丽亚·阿巴绍娃

Maria Abashova

俄罗斯功勋艺术家、屡获国际芭蕾比赛大奖、俄罗斯“金面具”奖和“金索菲特”奖获得者

 

卡列宁 KARENIN

谢尔盖·沃洛布耶夫

Sergey Volobuev

俄罗斯功勋艺术家、俄罗斯总统奖获得者、俄罗斯“金索菲特”奖获得者

 

沃伦斯基 VRONSKY

阿尔乔姆·勒普科夫

Artyom Lepkov

 

10月27日，20:00

 

安娜 ANNA

维多利亚·莫克茹索娃

Victoria Mokrousova

 

卡列宁 KARENIN

迪米特里·费舍尔

Dmitry Fisher

俄罗斯功勋艺术家、俄罗斯总统奖获得者、俄罗斯“金索菲特”奖获得者

 

沃伦斯基 VRONSKY

伊戈尔·萨博汀

Igor Subbotin

 

 

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。

 

 

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 an opportunity 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 he describes the life in Russia. In the novel one will be immersed 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 feared. 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 was tragically constrained by a sensual relationship 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 known to her husband Karenin, to her son and to everyone around as a high society lady. 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 the 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 longing to be understood both in our life and death…”

 

Boris Eifman

 

Act 1

 

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 gossip and rumours start to spread about the Karenins’ relationship.

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

After a confrontation with Karenin Anna is overcome with dark thoughts and premonitions.

The married couple makes a reconciliation.

 

Act 2

 

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.

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