Rodin review – ‘it demonstrates all the failings of Eifman’s style’

Siberian-born Boris Eifman is one of Russia’s most popular choreographers. In 1977, aged 30, he founded his own dance company, and since then has created more than 40 dance works in his own singular style. Depending on your point of view these are either creations of smouldering psychological intensity, offering an emotional roller-coaster ride through great works of literature such as The Seagull, Anna Karenina and Thérèse Raquin (and leaving out the boring bits), or lurid and artistically questionable exercises unworthy of their source material.

If Russian audiences love him, it’s because for years his was a choreographic voice that gave the impression of flouting the Soviet cultural rulebook. In fact, while notionally “experimental”, there was little danger of Eifman’s work assuming a dissident character, as he deals in none of the shades of grey that make up the satirical palette. Nevertheless the 68-year-old is still, in certain quarters,

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