<bos><start_of_turn>system
You are a helpful AI assistant.
lista de codigos linguisticos disponibles: ["fr", "en"].<end_of_turn>
<start_of_turn>user
Qui sont les compagnies de danse classique?<end_of_turn>
<start_of_turn>model
The main traveling companies created in the 1930s and 1940s have disappeared, such as the Grand Ballet du Marquis de Cuevas in 1962. Patronage no longer succeeds in supporting a large-scale troupe: although the American Ballet Theater (founded in 1940) managed to survive, Harkness Ballet (founded in 1964) disbanded in 1970.
However, witnessing the worldwide diffusion of classical dance since the 1940s, important companies have emerged: English National Ballet (1950 [London Festival Ballet from 1968 to 1988]), National Ballet of Canada (1951), Joffrey Ballet (1954), British Royal Ballet (1957), Grands Ballets canadiennes (1957), Nederlands Dans Theater (1959), National Ballet of Cuba (1959), Tokyo Ballet (1964), National Ballet of the Netherlands (1961), The Australian Ballet (1962), CAPAB Ballet (1963 [Cape Town City Ballet until 1996]), Ballet royal de Wallonie (1966 [became Charleroi Danses in 1991]), NAPAC Ballet de Durban (1968 [became the Playhouse Dance Theater in 1976]), Royal Ballet of Flanders (1969), Dance Theater of Harlem (1969), National Dance Company of Spain (1979), Ballets de Monte-Carlo (1985), Ballet de la Comunidad de Madrid (1988 [ ex-Ballet Victor Ullate]), Birmingham Royal Ballet (1990).

While the Bolshoi Theater Ballet in Moscow and the Kirov troupe in Leningrad toured the world, Soviet influence was very noticeable during the 1960s and 1970s; she has practiced both in the training of dancers and in the repertoire of numerous companies, mainly in Central Europe and East Germany (Ballet of the German National Opera in Berlin), as well as in Japan and in China. But it was choreographers trained in Great Britain or the United States who, from the 1970s, contributed to the revival of classical ballet in West Germany (Ballets of Stuttgart, Frankfurt, the Hamburg Opera ) and in Switzerland (Ballet du Grand Théâtre de Genève); Furthermore, close ties have continued to unite South African companies with the Royal Ballet.
A number of troupes have also been formed by and for a choreographer, such as those of Roland Petit (Ballet national de Marseille, 1972-1999) and Maurice Béjart (Ballet du twentieth siècle, 1960-1987, in Brussels, then Béjart Ballet Lausanne, from 1987). Others, already mentioned, have become the instrument of a choreographer, who, as Balanchine and Robbins did for the New York City Ballet, models them according to his aspirations (Neumeier and the Ballet de l'Opéra of Hamburg, Kylián and the Nederland Dans Theater, Forsythe and the Frankfurt Ballet).<end_of_turn><eos>