Und er libet:

The Lightness and Death of Giselle

Choreography, direction: Anna-Mari Karvonen & Anna Mustonen
Performers: Saku Koistinen, Ville Ahonen, Robert Brotherus, Miikka Tuominen Masi Tiitta, Saara Töyrylä, Outi Condit, Vida Hulkko
Sound design: Heidi Lind
Lightning design: Hanna Käyhkö, Ainu Palmu
Set design: Hanna Käyhkö, Milja Aho
Costume design: Laura Käyhkö
Premiere 30.10.2010 at Moving in November Festival and Zodiak - Center for New Dance

The piece has toured at Stamsund Internasjonale Teaterfestival Norway and at Teatre de Gennevilliers France during May 2011. 

The Lightness and Death of Giselle is the group Und er libet's performance, which was premiered at Zodiak – The Center for New Dance at the Moving in November festival 2010. The performance utilizes the means of theater and dance, as well as humor and elements of tragedy. On stage are eight distinct performers between the ages of 12 and 33. Each individual approaches the lightness of being present and the abundance of materials through their subjective history and way of being. The group is composed of dancers, actors, musicians and teenagers.

The performance begins from a pile of trash, from which the performers on stage sketch scenes in which unfinished and trivial things alternate with things that are refined and polished. Inspired by the ballet Giselle, the group has prepared scenes of love and madness. Overall, the ideas for pas de deux, solo and choir scenes have been borrowed from the tradition of ballet, and the straight lines and order of height typical to ballet are given new interpretations. The performance that floats on light-heartedness or even emptiness sinks into dark and heavy materials towards the end. The performance submerges into the question of portraying death by presenting, for example, bodies glowing in black-light and a noise inspired soundscape that resonates in the body of the viewer. 

One of the central starting points for the Lightness and Death of Giselle was to approach the romantic themes of love, lightness and death, that are so crucial to adolescent life. Another aspiration was to find a dramaturgy and aesthetic style that would not aim to create an intact form or logic, but instead be able to create surprises with its ways of progressing fearlessly from one style and material to another. At the ending point of the long practice period, in the show that is, lightness and death are most apparently realized in the way materials transform; that which is joyful becomes serious, or those things that are vague becomes virtuosic and bright. The spectators of the performances have been both baffled and flattered by the unpredictability of the performance and the admirable spontaneity of the performer's ways of being onstage.