AIRE

SWANS

[Mar Aguiló / 2024]

All the dancers grow in the studio. They all undergo the transformation from girls in the world of fantasies to adults in the world of realities, embodying ballet.

One can only become a professional dancer if they possess a sublimated love for this art form and for what it demands from you— a love that, like any romantic fantasy, asks for the impossible. Perhaps it is in the second act of the great romantic ballets where this tragedy is most intensely distilled: the darkness and its beauty, the swan princesses, the sylphs, the willies, death, eternal innocence.

One of the conflicts that can be sensed in the paths of the artists involved in this creation, and that also spills over into the white act, is the sacrifice of innocence or its eternalization at the cost of life. From the context of fantasy and darkness provided by the second act in classical ballet, and with a certain sense of a second chapter in the lives of these performers, this creation seeks to become an exploration of the altered identity of each of them, overlaying a documentary and autobiographical narrative with a poetic exploration— necessarily never conclusive— about where classical dance resides within them.