1.       “Giselle” - A Romantic Ballet Classic 

        “Giselle” is a masterpiece of Romantic ballet, first performed in Paris in 1841. 

        The ballet tells the story of Count Albrecht, who, while hunting in disguise, meets Giselle, a young village girl, and falls in love with her. Giselle's lover, jealous of Albrecht's intrusion, reveals the count’s true identity and informs her of his betrothed. Overwhelmed by the revelation, Giselle loses her mind and, snatching the sword that symbolizes Albrecht's status, takes her own life. 

        In the second act, Giselle becomes a Wilis, a spirit of the forest. Every night, under the command of the Wilis' leader, Myrtha, they torment travellers, seeking revenge. Myrtha orders them, “Dance with them, tire them to death.” Albrecht arrives, seeking to visit Giselle's grave. But Giselle, still harboring love for him, protects him in every way she can. At dawn, the Wilis' powers fade, and Albrecht leaves, weary and dejected. 

        Twenty years ago, I first encountered Giselle at the Paris Opera House, filled with awe, respect, and wonder - the skill of the dancers, both leads and corps de ballet; the meticulous choreography, scenery, and overall production; especially the contrasting structure of the first and second acts. The realism of the first act contrasted with the fantasy of the second, the lively, bright, and folk-infused dances of the village contrasted with the mournful, eerie, haughty, fierce, and ethereal spirits in the forest. Of course, I was most impressed by the clever choreography, which allowed the dancers to shine and showcase their mastery in every section. 

        Despite being a work from the last century, its refinement, ingenuity, and humanistic themes - whether it's the blindness of love, deception, or jealousy - are captivating, breathtaking, awe-inspiring, and mesmerizing. 

        Since then, the specter of Giselle has haunted me, lingering in my thoughts. 

2.       The Ek Version of “Giselle”

        The Ek Version of “Giselle” at the Paris Opera House In October 1998, at the Paris Opera House, the Paris Opera Ballet, the same company that premiered “Giselle,” presented a different version: “Ek - Giselle.” This version retains the original music, the main characters, and the love triangle, but it overturns traditional conventions. 

        As the red curtain rises, we see a wildly colorful, Fauvist-inspired set. Swedish choreographer Ek uses a great deal of Martha Graham technique in the first act. Through the primal, powerful language of Graham, we see a Giselle who is not a delicate, dainty girl next door. Here, the focus is on Giselle's impulsiveness, simplicity, and naiveté as a country girl. For example, when the countess, Albrecht's fiancée, kindly offers Giselle a personal gift, the traditional approach would be for the humble Giselle to cautiously approach and shyly kiss the lady's hand. But here, Giselle is unbridled and ecstatic; she has no concept of social hierarchy or etiquette. She rushes forward and boldly embraces the countess. The choreographer, from a fresh perspective, vividly portrays and captures Giselle's personality, adding an intriguing twist compared to the original. 

        When the truth is revealed, the traditional script has the heartbroken Giselle counting flower petals, murmuring, “Love? No love?”, once again highlighting the confusion of young love. It's disillusionment, but also remembrance. It's pursuit, but also loss. It both laments the cruel hand of fate and manipulates the audience's emotions, prompting them to shed tears. However, this classic scene is cut in this version. Is it a limitation of the Martha Graham technique? Has the director's perspective on the story changed as a modern person? Or is our era no longer romantic? 

        This time, at the end of the first act, Giselle does not commit suicide; she simply loses her mind. During intermission, looking up at the ceiling from the theater's iconic red curtain, we see the chandelier, another classic feature of the Opera House, hanging from above. I anticipate with excitement how the choreographer will interpret the second act, which was originally filled with melancholy and haunting imagery. 

        The second act does not feature the evocative forest, the towering crosses of the graveyard, or the spectral apparitions. Giselle is not dead; she has been admitted to an asylum. The head nurse uses the music for the Wilis’ leader in her dance. 

          Hilarion, Giselle's lover, and Albrecht both visit her. 

       Hilarion wants Giselle to recover and return to reality, but she offers him a flower, a symbol of love that drove her mad. 

        Albrecht, the playboy, is also there. He is moved by Giselle's sincerity. On stage, Giselle strips Albrecht of his clothes, one by one. The clothes symbolize his lineage, his worldly possessions, his burdens. Or perhaps they represent the many masks and burdens we all carry. 

       Night falls. Hilarion finds a naked man in the desolate wilderness. He recognizes his rival, Albrecht. Has Albrecht returned to his natural state? Has the world gained another madman? There is no duel. Hilarion hands him a blanket. 

        Yes, Giselle did not die, nor did Hilarion or Albrecht. What died was sentimental romanticism. 

The red curtain slowly falls. 

3.       The Ageless Giselle 

        The Ek version of Giselle premiered in Sweden in 1982. In 1992, it made its way to Paris. In 1998, “Ek - Giselle” became a regular part of the Paris Opera Ballet's season. The Paris Opera Ballet has always had high standards when it comes to selecting productions. They must represent French culture and resonate with a global audience. They must honor tradition but also look to the future. The fact that “Ek - Giselle” has found a foothold in Paris speaks volumes about the production's strength and uniqueness. 

        The performance of “Ek - Giselle” breathes new life into Giselle, preventing it from becoming a relic of the past. It allows the audience to participate and engage with the story through a contemporary lens and understanding. 

        The Paris Opera Ballet was founded in the time of Louis XIV, boasting a history of over 300 years. But the dancers on stage today have an average age of 25. Twenty years ago, the dance stars I adored have all retired, their names no longer appearing in the program. But their figures and grace still haunt my dreams. Exiting the grand, opulent staircase of the Opera House, I feel the passage of time, yet Giselle remains ageless.