<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 scénographie dans la danse classique ? Discutez de l’histoire et des principaux acteurs.<end_of_turn>
<start_of_turn>model
When the choreographic show continues to be part of a theatrical framework, it leads creators to think about and redefine the function of sets and costumes.
Architectural devices, superimposed planes, utilitarian objects or filmed images projected on stage are increasingly integrated into the choreographic expression. They participate in it by the very way in which the dancers appropriate or avoid these elements, manipulate them, even play with them. Allowing spaces and volumes to be sculpted, freeing up the stage and creating a transparent universe where the choreography can unfold freely, light becomes one of the essential components of the show. There are many lighting designers – from Jean Rosenthal (1912-1969) for Balanchine, Graham and Robbins to Françoise Michel (born in 1955) for Duboc, Larrieu and Tompkins – who contribute to shaping the contemporary choreographic scene.
The reign of painter-decorator artists, like the collaborations sparked by Diaghilev during the heyday of the Ballets Russes, is running out of steam, often due to lack of financial means – even if it still finds an extension in the experience in France, from 1968 to 1978, of the Ballet Théâtre Contemporain. As Martha Graham continues to do with Isamu Noguchi, certain choreographers work in close collaboration with a visual artist (Cunningham/Robert Rauschenberg, Bausch/Rolf Borzík, Saporta/Jean Bauer, Nadj/Goury, Decouflé/Philippe Guillotel), developing over time their creations a recognizable universe. Forsythe most often designs the scenography, costumes and lighting for his ballets; For his part, Nikolais himself developed systems capable of transforming the stage, distilling the lighting and dressing the bodies with projections.
The 1960s and 1970s were strongly marked by the preponderance of non-narrative work, in which the exaltation of dance was satisfied with a bare stage, hangings and lighting designed as a decor. Favoring simple tunics and swimsuits which highlight the silhouette of the performers, Balanchine gave his credentials to this aesthetic of simplicity, intended to focus the eye on the choreography. The quintessence of body and mind, Béjart's academic tights are combined with a few accessories and stylized stage devices, symbolic reference elements sufficient to create an atmosphere. In contrast, the Tanztheater and many choreographers of new French dance have favored complex scenographies since the 1980s; they also do not hesitate to reconnect, in a more or less playful way, with the effects of machinery – Decouflé being the one who uses it the most.<end_of_turn><eos>