NYT > Dance
Two new works by the choreographers Marjani Forté-Saunders and Gillian Walsh make dramatic use of the Manhattan spaces in which they are performed.
She performed de Mille’s choreography and later became and expert at restaging it. She was, one admirer said, “the potter’s clay for Agnes.”
Whether in “Dance in America” or “Dirty Dancing,” Mr. Bhargava’s eye and sense of musicality were highly prized in translating dance to film.
Even dances with no obvious agenda have seemed like quiet protests recently. How are choreographers thinking about their work?
Eiko Otake performs “A Body in Places,” a shifting solo work related to the nuclear disaster in Fukushima
Its vast drill hall will host productions by artists including Ivo van Hove, Anne Teresa De Keersmaeker and William Kentridge.
The Ballets Russes de Monte Carlo meld technique with comedy, and tour more than two-thirds of the years
Yvonne Meier turned ordinary objects (tomatoes, Band-Aids) into tools for artistic expression; Jillian Sweeney engaged with memory and storytelling.
Ms. Walsh, whose recent works involve minimal movement, talks about transcendence, seeing time, “Dance Moms” and what audiences want.
Among the highlights of the winter-spring season is a production of “Long Day’s Journey Into Night” starring Lesley Manville and Jeremy Irons.
Taylor Leier is in his first full season in the N.H.L. while his brother, Keaton, is in his first year in the company of the Atlanta Ballet.
A London celebration provided a chance to think about MacMillan’s reputation and legacy 25 years after his death.
Hamed Sinno, lead singer of the band Mashrou’ Leila, is teaching a class at New York University on the intersection of music and politics.
Three choreographers tackle the question of “what is ballet?” Only Twyla Tharp seems to know the answer.
A class became a larger learning experience when Ms. Copeland and Carmen de Lavallade talked about breaking down barriers for black dancers.
The Marching Cobras, a Harlem after-school drumline and dance team, look at marching as an act of cultural expression and political resistance.
Mr. Hallberg, the American Ballet Theater principal and paragon of classical style, has a new memoir about life, dancing and returning from an injury.
The Calpulli company’s “Dia de los Muertos” takes Mexican folklore and folk dance and crosses them with French ballet.
Preeti Vasudevan’s “Stories by Hand” was an hour of talking and dancing, informed by — but not beholden to — classical Indian dance
The 91-year-old law was repealed last week, multiplying the number of spots where dancing is legal and signaling the end of an era.