| Sumario: | In the mid-1970s, the dance community was ecstatic that choreographic works were finally being recognized for the first time for protection under the Copyright Law of [3]. The dance world tolerates astonishing variation in the performance of dance works without loss of identity. Margolis argued that scores are inadequate, claiming that "dance scores are primarily heuristic devices for recovering a minimal sense of the principal positions and movements of a given dance." An outraged choreographer, say, a Martha Graham, distressed by performance of one of her works by a dancer not trained or coached in her methods, might vehemently insist that it was not a performance of the Graham work at all.
|
|---|