Akram Khan’s Giselle: Katja Khaniukova on the power of this work | English National Ballet
What he [Akram Khan] did with Giselle is like a scream without any noise – it’s something so deep and so painful that you want to… like…
you’re just shaking. Giselle is a really emotional ballet, even the classical one, but this one gives you something even more, because it’s more
real in a way. Especially what impressed me the most… the dancing parts are amazing but the parts in between are even more interesting, because he’s creating dialogue – conversation on stage. Where are you looking? Why are you looking? Why are you look at him at the moment?
What do you want to say with that? Because this is true, there should be a reason for any motions – the same as in our real life. He’s trying to avoid any single moment
that can look fake, that wouldn’t give the reason for the audience to trust you.
I believe that he’s seeing pictures as a as a film director, that he wants the
audience to pay attention to this or that or this you know… like when you’re filming you can make everybody pay attention to this single kiss or in this
or that. This is what he is trying to do. But in a way it’s harder to create
it on stage in the theatre where you have the whole stage and you have
different things going on. [In rehearsals] When Akram is showing something, that’s the moment when everybody is like ‘how the hell is he moving like that’.
When he’s giving corrections and when he is telling you something, it’s always so
so right. I think everybody who is going miss this production, they’re going to miss a lot honestly.