To repeat my post from above:
I think these things go in waves, or circles, or whatever cyclical metaphor one prefers. My take on it is that in during periods of high creativity, the choreographers say, "You're not in the classroom. you're on stage. Do something exciting. Make magic." Dancers who " only" do multiple pirouettes are not as favored as those who make the hair on the back of your neck stand on end.
Then when the great choreographers are off playing golf -- or whatever they've been doing -- for a decade or three, someone has to take over, and it's the pedagogues and technicians. I think this is necessary. Technique can get pretty sloppy during the creative periods. It needs to be cleaned. That's good for about a decade, and then the Extreme Technicians step in and push everything else to the background, and we get fascinated with how high is the extension, how many are the turns. And then it stops, because the advances become so minute that they're not measurable, and people get sick of counting.
Now that I think about it, Arlene Croce said more or less the same thing decades ago when discussing the effect that the sundering of the apostolic succession of choreographers in Russia with the departure of Fokine and Balanchine had upon the course of ballet in that country. With the best choreographers gone missing, the teachers took over.