<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
¿Cómo se ha cruzado el ballet con diferentes géneros de danza?<end_of_turn>
<start_of_turn>model
As neoclassical ballet flourished seamlessly, spectacular dance forms emerged to meet the aspirations of choreographers. This is how Merce Cunningham's approach found its culmination in the event, a piece without intermission set according to the place where it is performed: it is made up of extracts from different works and sequences created for the occasion, the choice and order of which are determined randomly the day before or the day of the performance. Advocating the desacralization of the spectacle and the artist, the postmodernists replace the notion of show art with that of performing art: in the 1970s, they invited the public to attend – even to participate –, not in the representation of a completed product, but a process of development by offering works in progress (continuous art projects, works constantly modified), dance actions that can be compared to happenings and “contact improvisations” (improvisations based on contact between two or more people).
Certain creators (Béjart, Gallotta, Forsythe, De Keersmaeker) are sometimes tempted by the path of the “total spectacle”, where dance, music and text are juxtaposed or overlap to varying degrees. Pina Bausch has developed a “dance theater” (Tanztheater), where gestures, words, music, choreographic developments are all elements which serve the dramaturgy in equal measure. François Verret rather produces a theatrical form (he himself speaks of “live cinema”), where dance, left to dancers and actors, is only one element of the show. Jan Fabre is striking for his ability to master different languages ​​in spectacular river works. Impressed by circus techniques, Philippe Decouflé puts his immense know-how at the service of indescribable surrealist pieces.<end_of_turn><eos>