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Since March, the Brooklynettes have performed live at Barclays Center to crowds that are smaller than usual — but huge for dance.
Her film for City Ballet’s virtual spring gala, featuring a new solo by Justin Peck, explores the nooks and crannies of the company’s theater.
The New York City Ballet legend, who went on to form National Dance Institute, lived to the fullest — and danced with that same spirit.
As part of a digital program presented by the Joyce, the Trisha Brown Dance Company focuses on early movement invention.
As part of GrahamFest95, the choreographer’s dance company celebrates its 95th anniversary with four films pairing dances with works by Hauser & Wirth artists.
Many dancers have taken advantage of a byproduct of the pandemic — time away from performing — to try out a new role: motherhood.
In a haunting new digital work, “Whale Fall,” Mayfield Brooks mourns Black bodies.
Casel’s joyful and generous spirit is as vivid as ever in a new virtual presentation by the Joyce Theater.
The Brooklyn Academy of Music presented its first live performance in more than a year: Le Patin Libre, a contemporary skating company.
Alexei Ratmansky returns to the stage with a playful Bernstein ballet, while Netta Yerushalmy revives a darker moment in time.
“American Masters: Twyla Moves,” a new PBS documentary, is also a portrait of a singular dancer over time.
An elite male principal. A veteran ballerina. A rising apprentice. Three dancers talk about life and work during the pandemic.
Lauren Lovette, the New York City Ballet principal, is retiring from the company but not from dance.
With performances on pause, many dancers are rethinking their relationship to weight.
Why is it so hard to show the dance world as it is? This Netflix series about students at a ballet school is yet another cartoonish depiction.
Discipline and abandon gave the dancer an ingrained elegance, an internal organization of the body that you sense even when it’s not pronounced.
Heather Lang and Ebony Williams of “Jagged Little Pill,” talk about their work on Broadway and dealing with life on pause.
Anne Teresa De Keersmaeker’s dances for the Broadway revival swarm and sweep, but Robbins’s choreography was something more central: the libretto.
Alexandria Wailes deftly weaves choreography and American Sign Language in Ntozake Shange’s “For Colored Girls.”
Ephrat Asherie collaborates with her jazz pianist brother to place Ernesto Nazareth’s music in a world of breaking, house, hip-hop and vogue.
In Elizabeth Streb and Anne Bogart’s “Falling & Loving,” dancers and actors share the stage with the Guck Machine, which emits a waterfall of food andother objects.
In Al Blackstone’s show, the songs are what set the characters on their journey, not the steps.
Raja Feather Kelly, who has left his mark on several Off Broadway shows, specializes in what he calls “virtuosic behavior.”
Standard or (worse yet) slight fare gets nominated for best choreography while quality work — “Oklahoma!,”“The Prom” — goes unrecognized. An exception: Camille A. Brown’s dance…
The choreographer and performance artist Ann Liv Young is using her Bushwick apartment — and her daughters and animals — in her version of “Antigone.”
The choreographer John Heginbotham and the director Daniel Fish want the dance to “change the way we experience the show.”
The wife-and-husband team of Sara Mearns and Joshua Bergasse talk about working together on “I Married an Angel” for Encores! Reader, she Lindy Hops.
Gaspar Noé’s “Climax” is the latest movie to push the ecstatic, frightening qualities of dance into horror. A body holds plenty of space for terror.
The choreographer Camille A. Brown deftly uses the tradition of step to add “a heartbeat to the story” of Tarell Alvin McCraney’s musical play, now on Broadway.
A talk with the director and choreographer Casey Nicholaw: “The world has gotten so serious. It’s time to be on a dance floor together.”
Amar Ramasar, Brittany Pollack and Craig Salstein get a chance to stretch on Broadway. With Justin Peck, they talk about the challenges and rewards.