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Ballet Met (2018) Dancers explain giselle: Act I

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Ballet Met (2018) Dancers explain giselle: Act II

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In these videos Ballet Met and their dancers tell the tragic classical story of Giselle. This version of the story is the one most ballet companies follow in their productions of Giselle. The ballet of Giselle first premiered on 24th July 1803 and was one of the first productions to be performed en pointe.

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In this E-portfolio, I will focus on Akram Khan’s remake of Giselle and how he used intertexutality to portray his version of the classical ballet. To do this, I will be comparing Akram Khan’s Giselle to the version The Royal Ballet produced. I will look closely at the differences between the two productions, focusing mainly on the opening of the second act where the Wilis enter. I will be exploring what might have influenced Akram Khan when making his unique version.

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Akram Khan was born in London. His family was from Dhaka in Bangladesh. Growing up, Khan trained in Kathak, which is a South Asian style of dance. He then went on to train in contemporary dance at the Northern School of Contemporary Dance.

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Akram Khan is heavily inspired by his training in Kathak, which he combines with his love for contemporary dance to create a new way of moving. Khan’s inspiration comes from the people he works with and their willingness to take risks with their movement. These inspirations give his choreography a new and unique style, which makes the audience feel excited about watching his work. Khan is one of the most highly praised choreographers at this time and has significantly contributed to the development of contemporary dance all over the world.

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‘The connections between different works of literature and art, and the meaning that are created by them’
(Cambridge dictionary)

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There are three key types of intertextuality:

1. Obligatory Intertextuality - this is where the author/artist makes a reference which is essential to the reader's/watcher’s understanding of the text/art.

2.  Optional Intertextuality - this is where the author/artist makes a reference that connects to another work or a general topic but is not essential to the reader's/watcher’s understanding of the text/art.

3. Accidental Intertextuality - this is where the author/artist accidentally makes a reference and the reader/watcher brings the understanding to the work themselves.

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Intertextuality is important in dance as it allows choreographers, such as Khan to use stories and movement that already exist and to use different meanings and intentions to change the experience for the audience.

Intertextuality can also create a more in-depth meaning in a dance as making reference to other stories, or significant times in the world, can enable the audience to feel a deeper connection to the performance they are watching.

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Akram Khan was commissioned by the English National Ballet to create a new version of Giselle. Khan said that he was ‘terrified’ to create a remake of Giselle as it was such a well-known love story. However, after it premiered on the 27th September 2016, Khan was awarded the Robert Robson Best Dance Production prize, and many more.

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In Khan's version of Giselle, Giselle is a women who is part of a group of migrant garment factories workers who have been forced out of their jobs by the closure of the factory - they become 'outcasts' and are separated from the rest of society by a high wall.

In Act I, Albrecht (the wealthy son of the landlords) disguises himself as an outcast in order to visit the girl he loves, Giselle. Hilarion (an outcast) is also in love with Giselle. Albrecht's presence is noted Hilarion.

The Landlords enter and Albrecht sees his fiancée Bathilde among them, Albrecht tries to hide. The outcasts dance for the Landlords until Albrecht and Hilarion disturb the ceremony with their conflict.

Bathilde’s father confronts Albrecht, forcing him to return to Bathilde and their world over the wall. The Landlords order the other outcasts to encircle Giselle. When the crowd disperses her lifeless body is revealed.

(English National Ballet, 2016)

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An abandoned factory is revealed. Albrecht is grieving. The Queen of the Wilis enter. The Wilis are the ghosts of the factory workers who have wrongfully died, and who are looking for revenge. The Wilis summon Giselle's ghost to join them.

Hilarion enters to mourn at Giselle’s grave. The Wilis surround him, demanding retribution for Giselle’s death, and Hilarion is killed.

Albrecht returns and becomes aware of Giselle’s presence. The lovers are reunited. Giselle denies the Wilis command to seek revenge, instead she forgives Albrecht and releases him back into life.

The Wilis depart with Giselle, and Albrecht is left alone.

(English National Ballet, 2016)

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Giselle Ballet - Full Performance - Live Ballet

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From 55mins 40secs to 56mins 40 secs

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Giselle Ballet - Full Performance - Live Ballet

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In this clip, from The Royal Ballets Giselle, we see the Queens of the Wilis enter. The scene is set at night in a grave yard in the forest. All the headstones look well looked after and we are led to Giselle's headstone, which is down stage left.

Myrtha (Queens of the Wilis) enters from stage right. Myrtha courus on with her arms placed across her chest and her hands open. All of her movements are soft and well placed. The music complements her movement as it is classical and elegant. She is wearing a classical white romantic tutu with lace off the shoulder sleeves. She has her hair up in a classical ballet bun and wears a pretty white flower headdress.

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Akram Khan's Giselle: The Wilis (extract) | English National Ballet

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The first minute

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Akram Khan's Giselle: The Wilis (extract) | English National Ballet

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By looking a the two stories we see many similarities, however, there are also many contrasts. Khan kept the core of the story the same but by changing some of the characters intentions, and settings, it provides the audience with a different emotional connection to the performance.

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In Akram Khan's Giselle, the Wilis enter together from under the wall. The dancers are in a vertical line, the front of the line is lead by Myrtha the Queen of the Wilis. All the Wilis are holding large sticks apart form Myrtha. Giselle is on the stage and also has a large stick in her hand, which gets snatched from her by Myrtha. Myrtha uses the stick to hit the floor and the Wilis disperse revealing fourteen dancers all facing Giselle. The music is dynamic rather than classical and the movements used are very sharp and strong.

All of the Wilis have there hair down and are in grey/brown dresses that look very worn. The dancers are not wearing anything that would be considered classical except for their pointe shoes.

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Examples of intertextuality can be seen in many styles of dance performances and music videos. An example of a choreographer that is famous for using intertextuality is Matthew Bourne. Bourne tends to base his productions on classic stories that most audiences know very well. Bourne uses intertextuality to significantly change the setting and intention of some of the characters so that audiences see the story in a new and different way. For example, in his version of Swan Lake the traditional corps de ballet of the swans are men rather than women. The male swans still dance to the same classical ballet music as used in the original version, and even use formations that are similar to the classical ballet, however through the use of intertextuality the audience is left with a different connection to the characters of the swans.

Another example of intertextuality is how it is used in literature. As said by Graham Allan, ‘Theories of intertextuality suggest that meaning in a text can only ever be understood in relation to other texts; no work stands alone but is interlinked with the tradition that came before it and the context in which it is produced. This idea of intertextuality is crucial to understanding literary studies today’ Allan.G, (2011). Even though this definition is not about dance, it can be applied to dance. For example, Khan's Kathak background is a major influence in his choreographic style and that influence will always be a significant part of the pieces he creates - it is crucial piece to understanding his work and how this has shaped his choreographic mind.

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Intertextuality can be seen by some as negative, as some people believe it is an example of one artist stealing another artist's work and taking it as their own. Intertextuality also comes with an assumption that the audience is aware of, and understands, what the artist is referring to.

These negative views have been challenged by many artists including Rukks who states that, ‘Everything is recycled. People will hate on you because you think you’ve done a move that they did. But in essence you’re just taking off a move that was created far beyond and you’re just implicating it in your style now, and claiming that its yours.’ Dobbs, S. (2016). This shows that all movement, stories, and ideas have been made before -  it is how artists get inspired. I believe intertextuality it a positive thing in dance as it allows new ideas to be created from the old.

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On the 24th April 2013, over 1,100 people lost their lives and 2,000 people were injured when the Rana Plaza factory collapsed in Dhaka, Bangladesh. Most of those who lost their lives or were injured were factory workers and over two thirds were women. Those who survived faced serious injuries and an uncertain future. After this tragic event took place, governments around the world discussed how to improve the safety of factory workers.

Interestingly, Khan’s family is from Dhaka in Bangladesh, which is where the factory collapsed. Khan started creating Giselle in 2013, the same year as the disaster. Khan also set his version of Giselle in a factory with the majority of the cast being migrant factory workers.

It is likely this tragic event had a significant influence on Khan when he created his version of Giselle. This could be why Khan made reference to the wealthy Landlords being able to escape under the wall, whereas the factory workers were left trapped with no way out.

In Act 2, we are introduced to the Wilis, who could be seen as representing all the women who lost their lives working in the factory. The significant number of dancers Khan uses may provide the audience with a glimpse of the number of lives that were lost.

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Akram Khan uses the same story of the Wilis as the classical Giselle, however, he uses intertextuality to change the meaning of the story for the audience.

Khan makes the Wilis vulgar and aggressive, which is in contrast to the classical ballet where they are represented as gentle and beautiful. This is shown through their costume and the style of their movement. Khan also brings the Wilis on stage together, as a group, instead of starting with a solo, like in the classical ballet. I think he did this to further reinforce the number of people who struggled in the factory in Dhaka, and how many women unnecessarily lost their lives.

In Act 1, none of the female dancers are en pointe, and Khan only introduces pointe work into his choreography when the Wilis enter. Khan uses the 'en pointe' key aspect of classical ballet, instead of making the dancers seem elegant and soft through this choreography/movement he uses it to make the audience feel the Wilis are powerful and 'other worldly' - this is further reinforced by the use of sticks, which could be seen as a connection between life and death.

In an interview with English National Ballet's, Bella Brouwers, who dancers the role of Myrtha, she talks about how there is an ‘element of undeniable fatigue’ while playing the role. She describes the power behind the choreography, and how she spends ‘40 minutes flat out en pointe.’ Brouwers, B. (2023).

Though this is clearly a demanding piece for those dancing the part of the Wilis, it further shows how even in death the Wilis are still in pain and want to use this pain to seek revenge.

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AK company (2023) About AKC - Akram Khan Company - One of the most original and celebrated choreographers of international dance. Available at: https://www.akramkhancompany.net/productions/about-us/ (Accessed: 15 December 2023).

Ballet Met (2018) Dancers explain giselle: Act I, YouTube. Available at: https://www.youtube.com/watch?v=3_ebwmFc54U (Accessed: 03 December 2023).

Ballet Met (2018b) Dancers explain giselle: Act II, YouTube. Available at: https://www.youtube.com/watch?v=eGRwwFDjSYQ (Accessed: 03 December 2023).

Cambridge (no date) Intertextually | English meaning - cambridge dictionary. Available at: https://dictionary.cambridge.org/dictionary/english/intertextually (Accessed: 27th November 2023).

Classical ballet and opera house (2020) Giselle Ballet - full performance - live ballet, YouTube. Available at: https://www.youtube.com/watch?v=VroMXEDLTq8 (Accessed: 27th November 2023).

Darbar (2019) Akram Khan interview: ‘indian dancers place themselves in the shoes of gods and mortals’, Darbar Arts Culture and Heritage Trust. Available at: https://www.darbar.org/article/akram-khan-interview (Accessed: 19th November 2023).

Dodds, S. (2016) (PDF) hip hop battles and facial intertexts - researchgate, Hip Hop Battles and Facial Intertexts. Available at:https://www.researchgate.net/publication/301742044_Hip_Hop_Battles_and_Facial_Intertexts (Accessed: 12 December 2023).

English National Ballet (2017) Akram Khan’s Giselle, English National Ballet. Available at: https://www.ballet.org.uk/production/akram-khan-giselle/ (Accessed: 4th December 2023).

English National Ballet (2018) Akram Khan’s Giselle: The Wilis (extract) | english national ballet, YouTube. Available at: https://www.youtube.com/watch?v=lNOETiC9eeA (Accessed: 27th November 2023).

Kenton, T. (2016) Giselle Review – Muntagirov and Nuñez display absolute mastery, The Guardian. Available at: https://www.theguardian.com/stage/2016/mar/24/giselle-review-muntagirov-and-nunez-display-absolute-mastery (Accessed: 23rd November 2023).

New York Times (2022) Giselle: Interview with Tamara Rojo and Akram khan Available at :https://www.akramkhancompany.net/article/giselle-interview-with-tamara-rojo-and-akram-khan-the-new-york-times/ (Accessed: 2nd January 2024).

National Labor Organisation (2023) The Rana Plaza Disaster ten years on: What has changed?, InfoStories. Available at: https://www.ilo.org/infostories/en-GB/Stories/Country-Focus/rana-plaza#intro (Accessed: 02 December 2023).

Office, F.& C. (2014) The Rana Plaza disaster, GOV.UK. Available at: https://www.gov.uk/government/case-studies/the-rana-plaza-disaster (Accessed: 02 December 2023).

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In conclusion, I believe that intertextuality is positive and powerful in the world of dance. Dancers/choreographers can use stories, movement or ideas that have already been created and use them as inspiration to create something completely new and different. This is evident in all of Akram Khan’s productions, where he uses his Kathak influence and manipulates narratives to give the audience a new perspective.