Published: May 8, 2019

A Note from Boris Eifman on "The Pygmalion Effect"

The Pygmalion Effect is quite uncommon for both our company and modern ballet in general. It stands out from other productions of Eifman Ballet’s repertory for its comedy genre, which makes it so different from psychological dramas that we have been staging over the last years.

Of course, The Pygmalion Effect is not a 100% comedy, it is rather a comedy with tears in the eyes, a tragic comedy. But at the same time it is a very bright ballet filled with light humor. Its plastique is rather original as well: we turned to the technique of ballroom dance, which our dancers had to master from scratch. Certainly, the audience will not see pure ballroom dance, but its ballet interpretation.

What is worth mentioning is that The Pygmalion Effect demonstrates a new reading of the creative heritage of Johann Strauss II, to whose music the ballet is set. Everybody considers the works of J. Strauss II as lightsome and easy-going. What we managed to discover in them is their special dramaturgy and energy.

The Pygmalion Effect does continue the artistic heritage of psychological ballet theatre, which Eifman Ballet has been developing over the course of decades. The ballet explores the inner world of the main character – slum girl Gala – and shows its evolution going parallel with her plastique transformation. Strong dramaturgic foundation (we offer a new interpretation of the famous myth), psychological depth, and a philosophical aspect are what distinguishes our ballet. But the most important thing is that The Pygmalion Effect brings the brightest, incomparable emotions causing internal shock.