Abstract
Recognizing the dearth of creativity in the Korean ballet field, this study analyzes the efforts of the overseas ballet field to foster ballet choreographers. Through Internet research and interviews, it collected diverse cases and view them on the choreographer’s life cycle paradigm of education-debut-distribution. Each stage of education-debut-distribution is closely intertwined, and its circulation enhances creativity in ballet. What fosters this rapid change in the overseas ballet industry is a sense of crisis that no dancer, choreographer, or company cannot survive unless it becomes versatile. This indicates that overseas ballet field, instead of being trapped in the concept of ‘ballet as genre’, is actively accepting the concepts of ‘ballet as method’, and furthermore, ‘ballet as contemporary dance.’
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
