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040			_aES-MaCDM
100	1		_aGenné, Beth _9138251
245			_aCreating a Canon, Creating the "Classics" in Twentieth-Century British Ballet _b _cBeth Genné
260			_c2000 _aEdinburgh: _bEdinburgh University Press,
300			_a31 p.
520			_aRESUMEN: One of the major scholarly projects in the academic study of all areas of the "Western" humanities in the last decade has been a radical re-examination of "canons" - those bodies of works in art, literature and music that have come to be seen as the foundations of the field. The canon of classics forms the core of the teaching of humanities at most American and British universities. In Western ballet history we have a chance to examine the precise historical moment when the "classics" became the "classics", when the canon of ballets that now form part of the unconscious assumptions of most who write about or perform dance was created - at least in England. While I do not think I can give a completely definitive picture of this period, I can begin a discussion about it- and begin to sketch in a partial picture of what was going on in the minds of the performers and critics who set up the "classics". I start with the work of Ninette de Valois, that matriarch who was responsible for so much of the renaissance of ballet that took place in this century in England, in her work with the company that eventually became the royal Ballet and with the circle of artist and critics who influenced her.
773	0		_tDance Research _wmyd_16032 _gVol. 18, núm. 2, Winter 2000, p. 132 - 162 _072889
903			_a91136 _b91136
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999			_c126248 _d126248