Tanzrecherche NRW: Classical Tradition / Modern Society by Mirjam Otten

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Credits Mirjam S. Otten, BA AKC In der Tanzrecherche #40 des NRW Kultursekretariat E-mail: mirjam.s.otten(at)gmail.com https://www.mirjamotten.net/ A grant from NRW KULTURsekretariat — funded by the Ministry of Culture and Sciences of the Federal State North Rhine-Westphalia. © Mirjam S. Otten, BA AKC 2022 Classical Tradition // Modern Society Classical Tradition // Modern Society 00
Contents SECTION I Background Introduction SECTION II ELEMENTS OF RELEVANCE The Nature of Ballet Social Context Relations Programme & Productions 03 04 10 15 17 24 28 38 Objectives & Methodology Interviewees Heritage, Appropriation & Evolution Criticism and Relevance Today Heritage Preservation A Word on Contemporary Dance Government Value System Performance Art Workmanship Technique Status Social Developments Current Affairs Technological Developments Cross-Sector Relations International Exchange Public Relations & Media Audience-Building Education Outreach & Engagement Public Participation Programming Re-working Heritage Pieces New Commissions Classical Tradition // Modern Society 01
Page 1: C L A S S I C A L T R A D I T I O N
Page 5 and 6: SECTION I Classical Tradition // Mo
Page 7 and 8: METHODOLOGY Primary data collection
Page 9 and 10: OBJECTIVES & HOW TO USE THIS REPORT
Page 11 and 12: MAśDELEINE oNNE dominic antonucci
Page 13 and 14: Even though the ballet industry’s
Page 15 and 16: HERITAGE PRESERVATION It is impossi
Page 17 and 18: SECTION II Classical Tradition // M
Page 19 and 20: THE NATURE OF BALLET Classical Trad
Page 21 and 22: VALUE SYSTEM Peter Anastos, former
Page 23 and 24: WORKMANSHIP William Forsythe famous
Page 25 and 26: If you can play classical guitar, y
Page 27 and 28: Howw does the social standing of da
Page 29 and 30: CURRENT AFFAIRS Beyond wider social
Page 31 and 32: Through wwhich structural channels
Page 33 and 34: INTERNATIONAL EXCHANGE Intercultura
Page 35 and 36: AUDIENCE - BUILDING Audiences are n
Page 37 and 38: OUTREACH & ENGAGEMENT Engaging in d
Page 39 and 40: PARTICIPATION CASE STUDY Brecon Fes
Page 41 and 42: Howw can wwe structure an artistic
Page 43 and 44: CLASSICAL COMMISSIONS / RE-WORKING
Page 45 and 46: NEW COMMISSIONS Choreographer Chris
Page 47 and 48: Does the idea of relevance play} a
Page 49 and 50: COMMUNICATION Richard Bermange sugg
Page 51 and 52: Choreography is dialogue with livin
Page 53 and 54:
PRODUCTION CHARACTERISTICS Classica
Page 55 and 56:
CONTENTS The contents of a ballet p
Page 57 and 58:
STORYTELLING It is not only the con
Page 59 and 60:
MOOD The tone of a ballet greatly i
Page 61 and 62:
INTEGRATED PRODUCTION ELEMENTS Ever
Page 63 and 64:
FORMAT Andrew McNicol believes that
Page 65 and 66:
people Classical Tradition // Moder
Page 67 and 68:
COLLABORATORS Whilst it is widely a
Page 69 and 70:
ARTISTIC DIRECTORS The Artistic Dir
Page 71 and 72:
Can the dance industry} be structur
Page 73 and 74:
INSTITUTIONS CASE STUDY McNicol Bal
Page 75 and 76:
EQUALITY & DIVERSITY Relevance fund
Page 77 and 78:
CHAśLLENGES It is hoped that the a
Page 79 and 80:
In spite of many remaining challeng
Page 81 and 82:
I would like to say thank you to ev
Page 83 and 84:
Schnell, A. (2014) Ballet’s Cultu
Page 85 and 86:
APPENDIX B INTERVIEW QUESTIONS 1. I
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Tanzrecherche NRW: Classical Tradition / Modern Society by Mirjam Otten

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