NYT > Dance
Taylor Stanley may be troubled by self-doubt, but he has become an invaluable dancer at New York City Ballet. Now he takes on one of the most difficult and storied male roles in the repertory.
“I think I can bring innovation to the company, bring it in tune with our time,” said Mr. Acosta, a favorite when he danced for London’s Royal Ballet.
In her dances and short films, she created dreamlike, surreal tapestries. “I describe my aesthetic style as ‘perceptual mischief,’” she once said.
Companies at the Joyce Theater’s Cuba Festival share a similar issue: The country produces wonderful dancers but, as of yet, no great choreographers.
Taking the company reins, Michael Novak has planned a tour to honor Taylor with nine programs of his work.
For its first season, beginning in April, the Shed has commissioned more than a dozen exhibitions, performances and lectures across disciplines.
The master-choreographer George Balanchine coached the autobiographical title role of “Apollo” as he coached no other.
The dancer’s social media posts, declaring his dislike for homosexuals and embracing Putin and Trump, caused a furor online.
Three performers are suing the makers of the video game Fortnite, saying it is selling their dance moves without their permission. Can they win?
Animals from the American Folk Art Museum share a habitat with paintings from Fountain House Gallery that embrace a similar theme.
At Bushwick Starr, Diana Oh and her team of “super queero heart questers” welcome guests to a night of dance-filled revelry. (Yes, there’s a sleepover option.)
The 1970s performance artist known for his guerrilla-style spectacles in costumes made from trash and found objects gets an overdue retrospective.
In his dense and wickedly funny piece, Miguel Gutierrez keeps an environment in flux while somehow holding it all together.
Mariaa Randall performs a segment of “Footwork/Technique” — part of First Nations Dialogues — showcasing aboriginal footwork from Australia.
Brandon Stirling Baker talks about his essential but rarely discussed art, pointing out mistakes and misconceptions, and the joys of collaboration.
Aileen Passloff, 87, whose work will be at 92nd Street Y, talks about her career, Nijinsky’s ears and learning from James Waring.
Reggie Wilson’s remarkable “… they stood shaking while others began to shout,” at Danspace Project, is inspired by black Shakers.
At its best, Caleb Teicher’s “More Forever,” with music performed by the composer Conrad Tao, is both youthful and sophisticated.
Miguel Gutierrez’s new piece, with a cast of Latin American heritage, melds the formal and the personal, the tactile and the untamed.
The tango master Gabriel Missé and his partner Maru Rifourcat have danced together for a year and a half. Now, they’re a couple in real life too.