<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
Quel est le rôle de la narration dans la danse classique ?<end_of_turn>
<start_of_turn>model
Does the choreographic show have the function of telling, or even expressing (a feeling, a behavior, an emotion, etc.), or does it only aim to explore the movement alone? This is a debate which, while questions multiply about the very reason for the dance gesture, is agitating the world of creators.
If, since the beginning of the 20th century, the narrative order has been called into question, it has not necessarily disappeared; it continued to irrigate, to a large extent, neoclassical ballet, particularly in Great Britain and the former USSR, as well as the majority of jazz ballets. However, as a general rule, the discursive sequence has tended to disappear in favor of a juxtaposition of episodes whose meaning varies depending on the spectator's perspective.
Thus, the great myths and literary works offer a very abundant source of adaptations or transpositions. Choreographers like Neumeier and Roland Petit draw generously from it. The creators of new French dance are not insensitive to it, whether they draw inspiration from the world of Beckett (Marin), that of Kafka (Verret, Nadj) or Choderlos de Laclos (Preljocaj). As for Martha Graham, continuing her exploration of the twists and turns of the feminine soul, she gave Greek myths a psychoanalytic interpretation.<end_of_turn><eos>