NYT > Dance
The executive, Vladimir Urin, was key in steering the Bolshoi after the 2013 acid attack on the ballet director Sergei Filin.
Russell Janzen, who joined the company in 2008, is known for his élan. Seven dancers from the company’s corps de ballet were promoted to the rank of soloist.
The Graham troupe’s season at the Joyce Theater includes a revival of one of her earliest works, “Primitive Mysteries” (1931).
This dance company’s performances of Balanchine masterpieces, filmed in Paris, will air on “Great Performances” on Friday and Feb. 24.
In a work by Ms. Dorrance and the choreographer Nicholas Van Young, the museum serves as a stage for movement and as a musical instrument.
Almost eight years after Cunningham’s death, a museum exhibition in Minneapolis makes his choreographic style crystal-clear.
Philip Glass, Mark Morris, Laurie Anderson and others remember Harvey Lichtenstein, who revived the Brooklyn Academy of Music and died on Feb. 11.
“The Fairy’s Kiss,” Alexei Ratmansky’s new version of a Stravinsky classic for Miami City Ballet, feels like skillful prose that opens into different forms of poetry.
A New York City Ballet principal, Mr. Huxley carries the refined and poetic air of a silent-movie star.
A Ballet de Lorraine program at the Joyce Theater hides the identities of its featured dance makers — a thrilling premise that ultimately disappoints.
How does Sara Mearns, often in the good-fairy role, portray an evil witch? “I didn’t want to come out screaming like a crazy person,” she said.
Researchers found that big hip swings and asymmetric arm and thigh movements give the impression of being a better dancer.
Mr. Maya’s “Latente: A Flamenco Journey,” at the Schimmel Center, takes inspiration from the Gypsy singer Juana la del Pipa.
You’ll never think of the phrase “fish dive” in the same way again once you have seen one executed in this ballet.
The choreographer Annie-B Parson discusses a new work inspired by Graham’s “Punch and the Judy,” which had audiences laughing when it debuted in 1941.