ABSTRACT

The focus on transnational connectivity in the ballet world is sharpened in this chapter by an exploration of how dancers move around in particular on tours, and communicate by way of media and technology across long distances. One prominent aspect of the mobility of the ballet world is touring, especially transnational touring, which meant that the field was moving. One of many transnational aspects of ballet videos is illustrated by the case of an American and a Russian dancer with the American Ballet Theatre. When the technological ballet production Sleepers Guts was made at Ballett Frankfurt in the autumn of 1996, steps, set and sound were worked out without much contact. The increased moving and mixing in the ballet world, by both famous and unknown dancers, choreographers and coaches, is changing the centre-periphery structure. This leads to more crossovers between classical and contemporary styles, as well as between dance and other art forms.