New director, new 'Giselle': Korea's top ballet company begins next chapter
Dancers Eom Na-yun and Na Dae-han perform a pas de deux as Giselle and Albrecht during the Korean National Ballet’s "Giselle" at the Opera Theater of the Seoul Arts Center, Oct. 18. Courtesy of the Korean National Ballet
Korean National Ballet's 1st 'Giselle' under Kim Joo-won brings fresh perspective to beloved classic
Smoke rose from the chimney of Giselle’s cottage in a rural village as the curtain went up. The opening scene revived a stage detail that had appeared in the Korean National Ballet’s 2011 premiere of the French choreographer Patrice Bart’s (1945-2025) version of “Giselle,” but had since been dropped.
Other subtle changes were evident in the latest production — the company’s first regular performance since Kim Joo-won, a former principal with the company, became its director and artistic director in August. Even the poster, which had previously featured full-length portraits of Giselle, was replaced with a composition emphasizing her upper body. Both onstage and off, the production suggested an effort to revisit the familiar repertoire from a fresh perspective.
Kim Joo-won, director of Korean National Ballet / Korea Times file
One of the most notable aspects of “Giselle,” staged at the Seoul Arts Center’s Opera Theater from Oct. 13 to last Sunday, was the bold decision to cast dancers in roles they had never performed before. Of the 11 dancers who took on the roles of Giselle and Albrecht across seven performances, six were making their debuts in the roles. Entrusting the center of the stage to new faces brought fresh energy to the production as a whole.
First performed by the Paris Opera Ballet in 1841, “Giselle” tells the story of love, betrayal and forgiveness between Giselle, a young woman from a rural village, and Albrecht, a nobleman. Following the opening-night performance by principal dancers Park Seul-ki and Park Jong-suk, corps de ballet member Lee Ha-yeon made her debut as Giselle on Oct. 14, partnered with principal dancer Kim Ki-wan. Lee’s years of stage experience, including performances as Giselle’s mother, translated into nuanced acting.
Lee Eun-seo, a demisoloist who was the company’s youngest member when she joined at 18 years old in 2016, drew enthusiastic applause for her portrayal of Giselle, as did corps de ballet member Kim Yun as Albrecht, who set a new record by joining the company at 17 in 2021. Corps de ballet members Eom Na-yun and Na Dae-han, who made their respective debuts as Giselle and Albrecht, brought the final performance to a convincing close. The two dancers displayed strong chemistry and physical compatibility, and Eom stood out for her technique.
The performances were not without unexpected developments. An Su-yeon, was making her debut as Giselle, but had to leave the stage after Act 1 of the Oct. 16 performance because of an injury. Eom stepped in for Act 2. An had previously been withdrawn from a supporting role because of an injury, and her inability to complete the full ballet left some audience members disappointed. Nevertheless, the new dancers’ performances demonstrated that bold casting can produce a compelling and competitive stage.
A scene from "Giselle" / Courtesy of the Korean National Ballet
The Korean National Ballet first introduced “Giselle” to domestic audiences in 1975. Since 2011, it has performed Bart’s version — choreographed by the former associate artistic director of the Paris Opera Ballet — as part of its core repertoire. Kim herself danced a leading role in the Korean premiere of Bart’s production while serving as principal dancer, and learned the work directly from the choreographer. The latest production was therefore significant not only as the first regular performance under her leadership, but also as an opportunity for a dancer who had embodied the work herself to present it.
The process of appointing the new director was far from smooth, coming four months after the departure of former director Kang Sue-jin, and following a period of turmoil that included a public statement by company members opposing the appointment of one of the candidates. Just over two months into Kim’s tenure, the first regular production under her leadership offered a glimpse of the future.
Former Stuttgart Ballet principal Kang Sue-jin led the Korean National Ballet for 12 years, starting in 2014, serving out four consecutive terms as director. Korea Times photo by Choi Won-suk
Amid recurring controversies over appointments at cultural institutions, the production raises a broader question about the criteria for selecting leaders. Running an organization is not the only qualification required of an artistic director. Equally important is the professional expertise to understand the works and artists involved, recognize the potential of performers and translate their abilities into achievements.
Following “Giselle,” the Korean National Ballet will present “The Lady of the Camellias” at the Seoul Arts Center’s Opera Theater from Nov. 10 to 15. The ballet, last staged by the company in May last year, features Alina Cojocaru, former principal dancer of Britain’s Royal Ballet, alongside Cho Yeon-jae and Han Na-rea in the role of Marguerite Gautier. It remains to be seen how the potential for change demonstrated in “Giselle” will carry over to the company’s next production.
This article from the Hankook Ilbo, the sister publication of The Korea Times, is translated by a generative AI system and edited by The Korea Times.