Article
French
ID: <
10.4000/quaderni.766>
·
DOI: <
10.4000/quaderni.766>
Abstract
Despite a consequent increase in the programming and in the numbers of contemporary dance audiences between the 1980s and the 1990s, the distribution of performances often remained difficult. The history and the techniques of contemporary dance remained little known within the entire society and this gap restricted the venue managers’ possibilities of action. They were themselves, indeed, struggling to survive the accelerating pace of artistic innovation. In this context, the article leans both on the study of a diversified corpus of documents taken from various media, and on a field study within the professional world, in order to explain the confused image of contemporary dance among the mass public, and the way in which programmes of cultural actions led by artists and the programmed venues could be remedied. The analysis also includes a perspective dimension on the conditions of effectiveness of mediation in the choreographic sector and the means of reinforcing quantitatively and qualitatively the media exposure of contemporary dance.