Tanzrecherche NRW: Classical Tradition / Modern Society by Mirjam Otten

More documents

Recommendations

Info

RELATIONS Classical Tradition // Modern Society 28
Through wwhich structural channels do wwe engage wwith society}?ć What is the role of the media in helping us connect wwith our audiences?ć Does the cohesion the dance industry} affect its ability} to remain relevant?ć Howw can wwe move closer to audiences in alternative engagement formats?ć GOVERNMENT RELATIONSHIP Art is a public good, and as such often relies on support from public institutions. The financial and idealistic support Marius Petipa for example received from the Russian Tsars laid a path for the success of Russian classical ballet as a cultural heritage into the present day (Tomina, 1945). In the reverse case, tense relationships with government could hinder social relveance and artistic development, which is why Brinson (1989) calls for a relaxation of institutional pressures on national companies to allow for more creative freedom (Brinson, 1989). Crystal Costa calls for increased public funding for the arts. At the same time she is acutely aware of the moral background to decisions around public funding attribution, expressing deep concern over competition between social causes such as homelessness or health care and cultural initiatives. In spite of complex intragovernmental decisions, she advocates building positive relationships with public bodies to build funding avenues. Classical Tradition // Modern Society 29
Page 1 and 2: C L A S S I C A L T R A D I T I O N
Page 3 and 4: Contents SECTION I Background Intro
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: CURRENT AFFAIRS Beyond wider social
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
show all

Tanzrecherche NRW: Classical Tradition / Modern Society by Mirjam Otten

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?