![]() ![]() Indeed, the proper restaging of an historically influential ’dance text’ is not customarily in the ballet tradition either. The classics owe their status mainly to their continuous artistic renewal in which process usually only the music and the basic story are preserved. Yet even in the ballet tradition rewriting clearly outweighs re-enacting. ![]() This set language constitutes a solid ground for passing on and restaging choreographies, which are essential conditions for establishing a canon and the repertoire practice inspired by it. Within the ballet tradition, the notion of choreography still has the double meaning of composition and dance script in the strict sense: a codified ensemble of repeatable signs – an alphabet of well-defined poses or steps like the plié, the tendu or the jeté. There is a reason this ‘classical dance repertoire’ largely coincides with a handful of evergreens from ballet history like Giselle, Swan Lake or The Nutcracker. The living artistic memory or archive of professional dance therefore appears very limited, resulting in a narrow canon. Unlike theatre, music or opera, it also often lacks an authoritative source text: a written account of the choreography that solidifies the movements of a dance piece into signs akin to letters and thus invites to a re-reading or a re-enactment. Dance leaves few tangible traces that continue to be broadly accessible, like for instance music recordings. Of all the performing arts, professional dance is without doubt the most ephemeral. ![]()
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