In 1993 the French railway company TGV commissioned the composer Michael Nyman a piece to commemorate the opening of a new high- speed train line between the cities of Lille and Paris. The outcome was MGV: Musique à Grande Vitesse, a 26-minute piece of vibrant rhythms, conceiving the travel as a suspension of time while still moving forward towards the desired destination.
In 2006 the choreographer Christopher Wheeldon adapted MGV for the ballet, the result was: DGV: Danse à Grande Vitesse, premiered and until now performed exclusively by the Royal Ballet of London.

In this choreography Wheeldon creates through movement an evocation of travel around the actual existence. The constant rhyme of the technology opposes the gentle fluid of the organic lines; the non-stop speed confronts moments of a reflexive stillness. This is a big-scale choreography however still delicate in its details.

There is continuity and a definite marked symmetry all along yet at the same time each dancer shows his own character with personal movements that have their reflection on the others but never synchronise. This peculiarity generates a succession of ephemeral instants of beauty that ask to be stopped in order to gaze them to admire there detail but never happens, so the sense of a non-stop travel emerges, a movement that never ends, even when the music does.