Anne Imhof

And for me, getting back to your question, ballet as a movement has such a long history and trajectory and is so coded in itself, but it's also the most beautiful and most strict form with the most beautiful lines and shapes.

And for me, that aspect of ballet and then the aspect of storytelling of ballet, especially the classical ballet, is pulling me in because I see maybe different things than other people in the stories.

Like, so...

I'm interested in like kind of making ballets or working more with ballet dancers and creating stories that are stories about women that are empowered that I see in the classical ballets being talked about and being shown and being like the leads and the main protagonists but that go always through a force being almost like put on them or their bodies being like kind of uh

Exactly.

Or when you, for example, take Giselle as an example.

Giselle is this like said innocent peasant girl.

And as we know, nobody is innocent in a way.

Like we're full of tons of things and feelings and desires.

And so I think Giselle's that too.

And then she is like basically wronged by the one who she's in love with.

And there's this like big scene that is called the mad scene in Giselle.

And it's almost in every ballet is a scene like this where the woman is realizing she has been wronged.

She has been manipulated.

Like there's been done things with her that was out of their agency.

And for me, it could be like Giselle could be talked in a very different way about.

Giselle could be like the leader of an army of the willies.

And the story could take a whole different turn.

And I think there is like something in the classical ballet and in the storytelling that I think is very inspiring to me and can be a source of me thinking of a new story that I want to tell.

You're right, it's very palpable in the last pieces, especially in Doom, where there was a story almost like kind of drawing a narrative through it, but in reverse.