Kor’sia has already taken the path of revisiting classics through other pieces of his own, such as Somiglianza that revisited the Siesta del Fauno, as well as with his latest piece Giselle released last December 2020. With this particular vision that takes up pieces from the past and the connects and re-locates in the present, we are trying to build a possible imaginary that perfectly concentrates on an idea of ​​the philosopher Paul Valery that we like to constantly repeat to ourselves:

“There are no finished poems, there are only abandoned poems.” Our fascination for these pieces, stems from the understanding of humanity as a device that shares a collective imagination, a series of shared discourses or narratives, which in our opinion shape us as a community and as humanity. In how those pieces that we call academic, invariably preserved in time, we can find answers or ways of life, lessons, allegories, solutions to our current problems.

Therefore, during this time of research we have been searching in the archive that configures dance for those “abandoned poems”, trying to rescue them and include them within contemporary dance, also with the idea that there is a possible breakdown of the barriers between the categorizations that classify stage dance, and trying to create a common space in which dance is an art, without any kind of “labeling”, but rather a space, that of the arts of the body, which speaks of human communication.

игра // Igra

is a new creation, where Kor’sia takes up the fundamental concepts of the piece Jeux Nijinsky that he created for the Victor Ullate Company in 2018. The piece is conceived as a choreographic writing in dialogue with the present and the past, The directors and choreographers of Kor’sia evoke, in a new creation, one of the lesser known works by Vaclav Fomič Nizinsky JEUX created for the Russian Ballets. IGRA is not a reproduction or a readaptation of the JEUX Ballet of 1913, but a reflection on the historical moment and the context experienced by the author or his sister. The starting point that inspires the work is the reflection on the values ​​that even today seem to be in crisis or that we still see distant today.

This piece, woven into the metaphor of the game, establishes a dialogue, which can be linked to the possible relationship that the choreographer Nijinsky and his sister Nijinska lived with the elite group from Bloomsbury, whose members were artists and thinkers of the stature of Virginia Wolf, the economist Maynard Keynes or the philosopher Bertrand Russell. This possible relationship with this group of intellectuals, explorers of a new morality, based on freedom of customs, the demolition of established social conventions and an exquisite elitist education, A piece that is therefore based on the investigation of the universe artistic of the creators Nijinsky and Nijinska as well as in the rupturist figure, both in the choreographic and personal aspect that formed this pair of brothers.