NYT > Dance
As with many of Ms. Copeland’s performances, she was best in low-pressure moments, and more captivating as an actor than a dancer.
Mr. Ryden designed the backdrops, props and costumes for the ballet “Whipped Cream,” and the Paul Kasmin Gallery is presenting an exhibition of his work.
Under Julie Kent’s direction, the company hits peaks in a program that includes Anthony Tudor’s “Jardin aux Lilas” and Frederick Ashton’s “The Dream.”
The memoir, “A Body of Work: Dancing to the Edge and Back,” which will be published on Nov. 7, will cover Mr. Hallberg’s career as a star dancer.
Our latest installment in the Instagram series #SpeakingInDance features Mira Nadon and Davide Riccardo at the School of American Ballet.
On the new TV dance competition, Ms. Lopez says she wants the dancers to shine — and have an opportunity to “really make some money.”
“Radical Bodies,” an exhibition at the New York Public Library for the Performing Arts, looks at works by Ms. Halprin and other pioneers.
“The Monomyth” explores subtle transformations of Michelle Boulé’s body, and “This home is us” brings Stacy Matthew Spence’s personal effects to the theater.
This ballet, which had its New York premiere on Monday at the American Ballet Theater gala, feasts on a score by Richard Strauss.
A documentary captures this ballerina at a critical moment in 2013, when she was both trying for a comeback and coming to terms with aging.
For the final program of her first season as artistic director of the company, Ms. Kent commissioned a work from Ethan Stiefel about space travel.
The former City Ballet principal recalls learning of the choreographer’s death, and longing to nurture a sense of connection with him.
The festival, which features 31 programs from Sept. 14 through Dec. 16, will be the penultimate one overseen by its founding director, Joseph V. Melillo.
The New York City Ballet has become the world’s main source of important ballet choreography thanks to work by three big talents.
One of the greatest choreographers of the 21st century, Mr. Ratmansky continues to mine the work of Marius Petipa, the father of classical ballet.
This premiere by Mr. Scarlett, the Royal Ballet’s artist in residence, is a relief after two disappointing narrative works.
Ms. Maracci, who died in 1987, influenced many dancers, some of whom will pay tribute to her at N.Y.U.
The Timeless Torches, a dance squad for the W.N.B.A.’s Liberty, lets those over 40 — many in their 60s — shake their booty on center court, breaking the tradition of the typical halftime act.
With “An Ode To,” Solange reimagined “A Seat at the Table” with her own choreography and reconstructed musical arrangements.
In “Arlington,” a dance segment takes us into the subtext: “the pressure put on a body in confinement.”
Christine Shevchenko just danced her first lead in a full-length ballet: Kitri in “Don Quixote.” She dropped her fan but soldiered on. Here’s how it went.
Jay Wegman, who left the Abrons Arts Center to lead Skirball last year, has unveiled an ambitious first season.
Stages and streets around the Brooklyn Academy of Music will be full of the kinetic energy, sounds and cuisines of African culture.
American Ballet Theater’s season reminds us that ballet can turn silliness into enchantment but also turn serious themes into silliness.
A ballet by Matthew Bourne, a gala production of “Brigadoon” and the 25th anniversary of Encores! are among the highlights.
Choreographed protest from Quebec, a museum workout (!) and some titans of modern dance round out the top moments of movement coming up.
Our latest installment in the Instagram series #SpeakingInDance features Shelby Shellz Suzie Q Felton of “Flexn Evolution."
Our critic looks at how Koma (alone) reckons with vulnerability and age, and how François Chaignaud and Cecilia Bengolea bring mystery and oddity to Dia:Beacon.
Ms. Felton, a performer in “Flexn Evolution,” talks about being in a male-dominated genre, and how dance has given her life meaning.
“I really, really, really want people to hear and experience tap dancing in a different way,” said Ms. Casel of the Bronx, who is rehearsing for the world premiere of her next show, in June.
The Off Broadway theater’s 50th anniversary season is organized into three acts: Shakespeare, Americans and musical theater.
Violence against women is pervasive in contemporary works of ballet. Enough is enough: It’s time to give women as much power and agency as men.
In this work written and choreographed by Jinah Parker, women detail their harrowing stories as female dancers swirl around them.
The Center for Ballet and the Arts has chosen 19 fellows for the 2017-18 academic year, including the choreographer Annie-B Parson.