Transformacije ljudskega plesa v predstavitvah za »druge«. Primer treh kol iz Bele krajine - Kunej, Rebeka (Traditiones, 2006)
<span style="line-height: 115%; font-family: 'Helvetica','sans-serif'; font-size: 11pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-bidi-font-family: AGaramondPro-Italic; mso-ansi-language: SL; mso-fareast-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-font-style: italic;">Ko so nosilci tradicije opustili izvajalsko plesno prakso »zase« in se organizirali v plesno-folklorne skupine, se je ljudski ples vse bolj spreminjal v »ples za druge«, največkrat na odru. Spremenjen kontekst ljudskega plesa je povratno vplival tudi na ples sam, saj se je ljudski ples na odru moral podrediti zahtevam javnega uprizarjanja in scenskega izvajanja. Avtorica v prispevku analizira koreološke transformacije treh belokranjskih kol (Pobelelo kole, Lepa Anka in svatsko kolo), kakor so nastale v odrskih izvedbah belokranjskih folklornih skupin. <span style="line-height: 115%; font-family: 'Helvetica','sans-serif'; font-size: 11pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-bidi-font-family: AGaramondPro-Italic; mso-ansi-language: SL; mso-fareast-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-font-style: italic;">*** <span style="line-height: 115%; font-family: 'Helvetica','sans-serif'; font-size: 11pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-bidi-font-family: AGaramondPro-Italic; mso-ansi-language: SL; mso-fareast-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-font-style: italic;">No longer dancing for their own pleasure, dancers of traditional dances are now organized in folk dance groups. The character of traditional dances has been transformed to fit the “others”, meaning the spectators, who usually watch dances performed on stage. This modified context has in turn affected the dance itself. In the changed circumstances, dances performed onstage have to be adapted to meet the requirements of stage performance for the public. Analyzed are choreological transformations of three circle dances from Bela krajina (Pobelelo pole, Lepa Anka, and svatsko kolo), performed by folk dance groups of Bela krajina.