"There are no finished poems there are only abandoned poems." Paul Valéry
If there is a core theme in Giselle, it is indisputably related to love / heartbreak, we can even say that Giselle is the greatest story on this theme of romantic ballet.
With this visit to another of the “classics”, Kor’sia continues with a line that began with the reunion of two ballets by Nijinsky, Jeux and Siesta by a faun; consolidating the exploration around academicism and resorting to themes that last beyond time, to bring them closer to today.
In this case, an attempt is made to investigate the basic idea behind Giselle: is it possible to access pure love today?
We can say that even from the scientific nuclei there are different visions; On the one hand, medicine has recognized broken heart syndrome as a true clinical pathology; while, on the contrary, it is undeniable that the technological imprint is introducing new ways and forms of love / dislike.
In fact, the Giselle of 1833 seems to be part of an understanding of the world, which is missing or about to disappear; dragging with it the dimension ruled by Myrtha in which the Willis live, the young women who, like Giselle, died for love. But paradoxically, it also seems that this unreal, spectral underworld currently metaphorizes the liquidity of human relationships in which we find ourselves submerged: benching, ghosting, zombing ..., they emerge as terms that allude to the new forms of love / heartbreak that we face today.
The new technological devices multiply the speed of relationships, as well as that of possible and multiple frustrations; configuring the failure of love as a current theme. Individuals react to this new technological sphere, to this potential disorder, with other tools that are supported in meditation, yoga, dance ... asking our body for new resources that help us sustain what installs us in this new spectral speed /virtual; although like Giselle always guided by a single desire: to love and be loved.