波丽娜从小学习古典舞蹈，完美主义大师波金斯基的得意门生，前途无可限量。如所有古典舞者，莫斯科大剧院芭蕾舞团从来是心中圣殿，直至遇上现代舞让目标加上问号，波丽娜顷刻心乱如麻。

波丽娜不惜放下一切搬到法国跟随著名编舞家，尽管下定决心奋力练习至近乎痴迷却卡在瓶颈无法突破。波丽娜再次迁往他方，寻找新机遇也寻求新生活。

Dans un décor loin d'être bucolique, quatre jardiniers, modernes Cupidons aux lunettes noires, rythment le mécanisme des conquêtes sentimentales : on se cherche, on s'aguiche, on s'observe, on se désire, on se refuse mais l'orgueil finit par céder en libérant les ardeurs trop longtemps refoulées. Sur des musiques empruntées à Mozart, Preljocaj campe les stratégies galantes qui aboutissent à l'amour.

Le chorégraphe part ici à la recherche des codes et comportements amoureux de la littérature des xviie et xviiie siècles depuis les amours platoniques de La Princesse de Clèves jusqu'au libertinage des Liaisons dangereuses.

To speak of that ballet is very difficult because the theme is so popular as a fairy tale, adapted by Perrault from German folklore and then recuperated from the same folklore by the Grimm brothers, and what's more turned into an unforgettable film by Walt Disney. Angelin Preljocaj was thus trying to break a mould in which that character and her story had been cast seemingly for ever. And it is a success. Because first the setting, the stage direction are very interesting and rich. Rich are the costumes. Rich are the main ideas of the setting like the enormous magic mirror coming down from the sky, or like the deep underground mine turned into a vertical surface on which the seven dwarfs are dancing like dragon-flies on their strings.