<bos><start_of_turn>system
You are a helpful AI assistant.
lista de codigos linguisticos disponibles: ["es", "en"].<end_of_turn>
<start_of_turn>user
¿Quiénes son las compañías de danza moderna?<end_of_turn>
<start_of_turn>model
According to a well-established tradition in the United States, modern dance choreographers continue to perform with their own troupe (which bears their name), generally composed of performers they have trained within their studio.
Intimately linked to the creative work of their animator, these companies are forced to disappear upon their death. However, entrusted to the direction of an emulator, some managed to survive (Martha Graham Dance Company, Alvin Ailey Dance Theater, Nikolais-Louis Dance Theater Lab). Postmodern dancers, for their part, choose, for both economic and ideological reasons, to find themselves within an informal group, where everyone participates in the experiences of others (Judson Dance Theater in the 1960s in New York, Grand Union improvisation collective in the 1970s). Subsequently, some of them returned to the traditional circuit and founded their own company.
Elsewhere in the world, conditions vary depending on the country. However, since the 1970s, troops have proliferated. Few of them broadcast the works of different choreographers (Batsheva Dance Company, in Israel, since 1963; Rambert Dance Company, in Great Britain, since 1966; Dayton Contemporary Dance Company, in the United States, since 1968; GRCOP [Groupe de choreographic research at the Paris Opera], between 1981 and 1989). A few are directly linked to schools dedicated to teaching modern techniques (Folkwang Tanz Studio in Essen, founded in 1928; London Contemporary Dance Theatre, founded in 1966), but they are for the most part the emanation of 'a dancer-choreographer. The Ariadone (female) and Shankaï Juku (male) companies make buto dance known throughout the world. In Germany, the influence of the Tanztheater pushes choreographers to occasionally bring together a group, while others manage to establish themselves in municipal theaters, like Pina Bausch at the Wuppertal theater (Wuppertaler Tanztheater).

In France, the Ballets Modernes de Paris, created in 1954, were joined in the 1970s by the first groups made up of dancers breaking away from classical dance, such as the Théâtre du Silence (1972-1985). The explosion of new dance gave rise to the emergence of a multitude of small companies, whose main choreographers were appointed, in the 1990s, to the direction of national choreographic centers.<end_of_turn><eos>