Theoretical Paths of Dance
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Abstract
This framework presents Arthur Danto’s thoughts on the history of art as a Bildungsroman, taking into account the ways artistic dance has acquied its own autonomous path, through the possibilities and limitations of its means of expression and how production and reception have infl uenced the art of dance.
Based on this historiographical model, the progressive history of dance as a spectacle can be exposed as a narrative determined by the search for aesthetic autonomy, starting from the defi nition of its artistic statute towards the middle of the 17th century with the creation of the Royal Academy of Music and Dance, up to the Judson Dance Theatrer experimental activities in New York that modifi ed the ontological status of this artistic practice.
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