NYT > Dance
The choreographer has been working with Bard students for four years. What she’ll show is anyone’s guess.
The work of the Rwandan-born choreographer Dorothée Munyaneza addresses rape and genocide: “It’s a question of creating, mending, performing.”
The sophomore edition of the “Icons” program is among the highlights of the season, which is planned for Lincoln Center next March.
“Café Müller” and “The Rite of Spring,” presented by Bausch’s company at the Brooklyn Academy, feel haunted by Bausch’s death.
In “Swan Lake,” Sara Mearns takes on the dual role of Odette/Odile, and there are three other premieres this season from company members.
Ms. Tharp pulls from her past — “Raggedy Dances,” “As Time Goes By,” early minimalist works — to fuel her present in three fall programs.
Variation No. 15 of Twyla Tharp's classic “The Fugue” (1970), in which 3 dancers on an amplified stage perform 20 variations of a movement phrase.
Three generations of Bausch dancers reflect on the company, whose emotionally driven style of dance theater retains its audience appeal.
Mr. Wenders’s documentary “Pina” did something important: It helped helped to make modern dance more palatable to general audiences.
With acting and musical theater roles on the horizon, Mr. Fairchild, who starred in “An American in Paris,” said he felt he needed to choose a direction.
Jean-Guihen Queyras, a specialist in Bach’s suites for solo cello, is now playing them for a dance work by Anne Teresa De Keersmaeker.
Our critic’s list of forthcoming performances through May covers inventive takes on old favorites and bold new works.
An Egyptian-American composer, Mr. El-Dabh was best known for the haunting, Eastern-inflected scores for “Clytemnestra” and other ballets by Ms. Graham.
Mr. Jonze is collaborating with the buzzy choreographer Ryan Heffington and the fashion house Opening Ceremony on a dance narrative. (Oh, he has great stars, too.)
The ballerina Diana Vishneva’s Context festival will present choreographers like Wayne McGregor and Marco Goecke to an audience weaned on ballet.
The contemporary choreographer and dancer Jodi Melnick has never been inhibited about moving in public.