Historical Context
Marius Ivanovich Petipa was a French and Russian ballet dancer, teacher and choreographer. Petipa is considered to be one of the most influential ballet master and choreographer in ballet history.
The choreography ‘Giselle’ was first performed June 28, 1841 and the on-stage performances are performed to this day.
‘Giselle’ is considered one of the classics of ballet, choreographed by the ‘father of Russian ballet’. Petipa combined Classical and Romantic ballet in his production of ‘Giselle’.
Narrative and Characterisation
The story of Giselle takes place in Germany in the Medieval Period. A young peasant girl has fallen in love with a young man, whom she believes to be a peasant, but is in fact Count Albrecht in disguise.
The Wilis, a group of spectres who dance men to death, summon Giselle from her grave. They target her lover for death, but Giselle’s great love frees him from their grasp. The Wilis are haunting characters. They are the spirits of girls that died before their wedding night. These creatures were very popular in Romantic ballets. Led by Myrtha, the Queen of the Wilis, their sheer number makes them intimidating, as they effortlessly move through dramatic patterns and synchronized movements, and control the stage with their long dresses and dispassionate expressions.
Watching the Wilis sweep across the stage creates a scary mood that builds as the ballet continues and they close in on Count Albrecht.
Giselle’s love overpowers her feelings of anger and she soon forgives Albrecht for infidelity, but she knows the Wilis will not do the same. Their goal is clear and they are relentless on their quest. The Wilis are the most iconic characters in ‘Giselle’ and they dominate the second act.
Choreographic Devices, Structures and Motifs
‘Giselle’ uses expressive movement components to convey roles and relationships, build the atmosphere and help the viewer to follow the storyline of the ballet. Mime also helps to make the storyline clear.
By the Classical era, mime had become the main way for storytelling in ballet, alongside the dance movements.
Mimed movements in ballet are a kind of sign language used to draw attention to key moments within the story. For example, Giselle can be seen miming “I love to dance.” and “I don’t love you anymore.” at specific parts of the ballet.
Arm and head positions in Romantic Ballets such as ‘Giselle’ are soft and rounded. In contrast, Classical movement tends to be more virtuosic and mime is depended upon to express the story and arm and head positions are strong and held.
In addition, the choreography in the second act is unforgettable because of the supernatural atmosphere. When the work was first performed in Paris, the ballet was called ‘Giselle: Les Wilis’, proving that from the beginning the Wilis had a major role in the storyline of the ballet.
Music, Costumes, Lighting and Staging
The sets, costumes, lighting and music help create the atmosphere and give context to the story. Just like any other story ballet, they provide the supporting elements to ensure that the tale is believable.
The music in ‘Giselle’ was composed by Adam Adolphe (1806-1856). The music has been originally arranged for a smaller chamber orchestra. Some examples of remarkable music are the jolly hunting music in Act 1 (rich with horns and scurrying strings) and the boisterous finale to Act 1 (when Giselle loses her mind and dies). There is mysterious music for the Wilis in Act 2 (where strings and woodwinds instill the light-footed spirits) and the finale at sunrise, which is both serene and victorious. The mood of Act 1 contrasts in an extreme way with Act 2. Lovely light-hearted music with a girl coming out of her country cottage because somebody has knocked on her door form a stark contrast with the extraordinary Wilis in Act 2.
There are different interpretations of ‘Giselle’, but some themes do follow on costumes. Giselle is seen wearing a light dress through Act 1, which shows how she is both poor and innocent. The dress is also loose-fitting, which allows the dancer to move freely.
Giselle dominates the stage in Act 1, moving all around the stage – at the beginning dancing and demonstrating happiness – and at the end suffering from her lover’s lies.