Experimental dance in the twentieth century frequently focused on formal abstraction, rather than the transmission of narrative, plot, and character. Likewise the treatment of Shakespeare in chamber-length dance works during this period accommodated a modernist aesthetic, where innovative (frequently nonballetic) movement vocabularies expressed the idea of dance as an autonomous form in and of itself.
This article by Susan Jones is a selection from The Oxford Handbook of Shakespeare and Dance, edited by Lynsey McCulloch and Brandon Shaw.
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