Elizaveta Navislavskaya leads the department of plastic expression and acting at the Boris Eifman Dance Academy and serves as a choreographer for the Alexei Mishin group. In an interview with socialbites.ca, she explained how the image surrounding skater Elizaveta Tuktamysheva was conceived for the show program competition, titled “Struggle for Russia.”
The performance featured the poem Requiem by Marina Tsvetaeva, with Alisa Freindlich providing the vocal interpretation that accompanied the piece.
Navislavskaya described the visual development as a deliberate move toward solidity. “That’s why this dress came into being,” she noted. “There was a clear request: make the outfit nearly evening-formal, accentuate femininity, and craft a very neat hairstyle.”
The aim, she explained, was to present Lisa as more mature, more serious, and even tragic in this particular context. Tuktamysheva’s appearance, evolving into a starkly different presentation, was intended to work to her advantage by revealing a new facet of her artistic persona.
According to Navislavskaya, the task was never to imitate Tsvetaeva directly. Rather, it was to empower the skater as a creative performer who embodies an artist’s spirit. This distinction allowed for a broader interpretation of the performance, inviting audiences to see not just Lisa but a wider spectrum of interpretation—whether as Tsvetaeva herself, as a stylized figure, or as an abstract creator—and to respond to the piece without detracting from its impact. This approach ensured the audience could engage with the character while still recognizing the skater’s individuality.
In discussing method and concept, Navislavskaya emphasized that the overall effect relied on the confluence of movement, costume, and the musical setting. The choreography, the nuanced facial expressions, and the timing of every gesture were designed to support a cohesive narrative rather than to replicate any single literary figure. This synergy offered a multifaceted reading of the performance, granting spectators space to connect with the work on emotional and interpretive levels.
It is noted that Tuktamysheva previously explored nearly similar material with Medvedeva during the Russia Call event, indicating an evolving repertoire where core musical selections can be revisited and reimagined through different artistic lenses. The ongoing collaboration among the dancers, poets, and designers demonstrates a shared commitment to translating literary influence into the language of movement and stage presence. [citation: socialbites.ca]