The origins of Igra go back to Jeux / Nijinsky, a work created by the Russo / Rosa in the past. It was a short piece,  and whose axis was the creative process of that Nijinsky work. The subject was broad and from that first process, the desire to continue and expand the ideas remained. Igra supposes this expansion, in which there are hardly any vestiges of its predecessor. ​ As usual in Kor’sia, visual power plays a decisive role  in Igra, which without being a danced docudrama about that time and those works, is full of references, which appear in a subtle and intermittent way. Electronic music is close to the rhythms of Russian dances, the inclusion of Chopin, a Polish composer, seems to want to remember that although Nijinsky was born in Kiev and his sister Nijinska in Minsk, his family was Polish and the choreographer himself did not consider himself Russian. Metaphors are also present. Jeux was playing a tennis game but the game he wants to talk about is seduction. Igra, in short, does not reproduce or recreate, but the spirits of the famous brothers dwell (perhaps happily) in it.