The Pygmalion Effect is Boris Eifman’s first endeavour in recent years to work in the genre of comedy or, more accurately, tragicomedy – the form which the choreographer has perfected.

As he once again finds inspiration in the world cultural heritage, Eifman offers his audience a ballet interpretation of the archetypical story of Pygmalion, the sculptor who fell in love with his creation, a statue of a beautiful young woman. In the ballet storyline the role of the tempestuous creator falls to a successful ballroom dancer who resolves to “sculpt” a virtuoso performer from a clumsy common girl. Internal and external transformation of the heroine takes place against the background of music by Johann Strauss the Son. This is the first time in the choreographer’s prolific creative career that he works with the music of the “Waltz King”.

A tireless scholar of human soul, Boris Eifman chose for the justification of the title of his new ballet a set phrase used in studies of psychology, where the term “the Pygmalion effect” is defined as a phenomenon whereby expectations influence actuality. Thus, a person will develop self-assurance and achieve success when perceived by another person to have talent.

In this production Eifman presents a comprehensive artistic and philosophical portrayal of a human personality’s remarkable flexibility and ability to undergo unpredicted change in response to set aims and aspirations.