Ballet

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Reverse, Retrograde, Splice: Pam Tanowitz Interviewed by Rachel Stone
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The choreographer explores movement through the vocabulary of others.

From Affinity to Twinship: A Conversation by Leah Dieterich & Meg Whiteford
Dancers At The Bar Ii

On writing about performance and relationship paradigms.

Architecture as Metaphor: William Forsythe and Tino Sehgal at A Prelude to The Shed by Cory Nakasue
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A taste of what’s to come at Manhattan’s new space for multidisciplinary programming.

Jlin by Jibade-Khalil Huffman​
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The Indiana-based producer composes intricate music from a blank slate, but her inspirations range from Nina Simone to discrete mathematics.

Dance of the Self: On John Haskell’s The Complete Ballet by Will Harrison
Nijinsky Illustration

Noir, Balanchine, and an escape from the conventional novel.

Maher Shalal Hash Baz by Keith Connolly
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Nostalgia, rhythm, and synchronicity.

Brendan Fernandes by Jess Wilcox & Wendy Vogel
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Brendan Fernandes discusses dance, architecture, and identity with the curators of his current New York show.

Jillian Peña by Lauren Bakst
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Jillian Peña on the fantasy of ballet, queer temporality, and doubling in her new performance Polly Pocket.

Rites of Spring by Lauren Bakst
Nora Chipaumire

Two recent interpretations of The Rite of Spring challenge the audience in new ways.

On Inscrutability: William Forsythe’s Sider by Emily Hoffman
The Forsythe Company Sider Fabrice Mazliah Pc Julieta Cervantes3 Body

Emily Hoffman on the broken patterns in William Forsythe’s Sider, a work that conjures and contends with Elizabethan tragedy.

Lauri Stallings by Andrew Alexander

The artist on performing motherhood and marriage in her new video The Breath We Took and why “write what you know” is limiting advice.

Edward Clug on Radio and Juliet by Philip Szporer
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Excerpts from a discussion between Philip Szporer and Ballet Maribor Artistic Director and Choreographer Edward Clug on Radio and Juliet and the state of ballet in Slovenia.

Suzanne Farrell by Emily Fragos
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The purest paradigm of the Balanchine dancer, Suzanne Farrell relished performing boldly and off-balance, and the great choreographer created or reworked one masterpiece after another for her…

Dance! by Robert Tracy
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Dancing as an art cannot die out, but will always undergo a rebirth — so wrote the philosopher Havelock Ellis at the beginning of the 20th century. 

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