Netta Yerushalmy’s “Movement” at N.Y.U. Skirball comes from a patchwork of sources: TikTok, television, marching band practice and more.
SOURCE: The New York Times Subscription at 06:20PMDD Dorvillier’s solo at the Chocolate Factory evokes a dream state as it digs into the same river of dance twice.
SOURCE: The New York Times Subscription at 03:26PMFrom the first solo to the euphoric final bows, dance is essential to the world-building of “Cats: The Jellicle Ball.” Watch four standout dancers from the reinvented classic.
SOURCE: The New York Times Subscription at 05:01AMPam Tanowitz’s “Day for Night” flows with and against the current of its surroundings, reflecting the park’s strange mix of the natural and man-made.
SOURCE: The New York Times Subscription at 02:41PMFresh Tracks, at New York Live Arts, showcases early-career dance makers. This year’s talented crop wonders about next steps.
SOURCE: The New York Times Subscription at 12:39PMUnder the banner “American Legacies,” the Martha Graham Dance Company dusted off a classic, “Rodeo,” premiered a companion piece and welcomed FKA twigs for a guest solo at City Cente…
SOURCE: The New York Times Subscription at 07:38PMIn “Until the Lion Tells the Story…,” Lacina Coulibaly walks in his ancestors’ footsteps.
SOURCE: The New York Times Subscription at 04:31PMGayli, a dance night at a Brooklyn bar, provides a welcoming atmosphere for Irish social dancing, an exacting art form known for high-pressure competition.
SOURCE: The New York Times Subscription at 05:02AMIn Ursula Eagly’s “Dream Body Body Building” at the Chocolate Factory, the dancers seem to be transmitting a dream state to the audience.
SOURCE: The New York Times Subscription at 02:38PMHer program at the Joyce Theater features an extroverted dance from 1975 and two new works: an introspective solo to Jacques Brel and an antic look at a choreographer creating.
SOURCE: The New York Times Subscription at 03:49PMIn this work, inspired by Quentin Tarantino’s “Kill Bill” films, Croatian performers address the fraught director-actress relationship at its core.
SOURCE: The New York Times Subscription at 05:54PMGeorge Lee was the original Tea in “George Balanchine’s The Nutcracker.” A documentary filmmaker found him and a lost part of ballet history in Las Vegas.
SOURCE: The New York Times Subscription at 05:02AMMolissa Fenley’s “From the Light, Between the Lamps,” a collection of short works, is a steady, rigorous exploration of movement to music.
SOURCE: The New York Times Subscription at 03:12PMThe group, led by Leonardo Sandoval and Gregory Richardson, leans into tap’s oneness of dance and music for “I Didn’t Come to Stay.”
SOURCE: The New York Times Subscription at 03:37PMRecent experiments in describing dance, like the film “Telephone,” approach it not just as an accessibility service but as a space for artistic exploration.
SOURCE: The New York Times Subscription at 05:00AMIn her funny and fidgety way, the choreographer Michelle Ellsworth presents new works that probe the uses and limits of language and movement.
SOURCE: The New York Times Subscription at 01:41PMIn two programs, (La)Horde and the Ballet National de Marseille introduced New York to work that taps into a youthful, rebellious spirit.
SOURCE: The New York Times Subscription at 12:37PMSpare and simple, “Aging Prelude” at the Chocolate Factory is a new beginning for the choreographic duo Chameckilerner.
SOURCE: The New York Times Subscription at 02:35PMThe center, an unstructured retreat for dance artists, ran into financial difficulties that were heightened by the pandemic.
SOURCE: The New York Times Subscription at 01:12PMYoshiko Chuma and her company’s “Shockwave Delay” at La MaMa layers movement and music with video and spoken text. It’s a lot to take in.
SOURCE: The New York Times Subscription at 01:28PMThe South African choreographer and dancer Dada Masilo’s “The Sacrifice,” at the Joyce Theater, responds to Pina Bausch.
SOURCE: The New York Times Subscription at 03:03PMIn “Yes and Yes,” at the Irish Arts Center, Liz Roche responds to “Ulysses,” true to her own voice as she converses with his famously convoluted one.
SOURCE: The New York Times Subscription at 04:36PMBobbi Jene Smith’s “Broken Theater” is perhaps the most high-profile offering at La MaMa Moves!, but other programs were just as memorable.
SOURCE: The New York Times Subscription at 01:34PMKathy Westwater’s dances at the Chocolate Factory, “Revolver” and “Choreomaniacs,” build on her focused movement investigations of the last 20 years.
SOURCE: The New York Times Subscription at 02:57PMAt New York City Center, a characteristically generous Casel presents works by other choreographers as well as her own “Where We Dwell V.2.”
SOURCE: The New York Times Subscription at 03:04PMGutierrez, whose work often calls attention to the precariousness of life in the performing arts, is experiencing a period of midcareer abundance.
SOURCE: The New York Times Subscription at 05:00AMIn “Weathering” at New York Live Arts, the performers seem like the last holdouts of a civilization clinging to survival.
SOURCE: The New York Times Subscription at 01:56PMThe contemporary dance group Bereishit performed two works by its founder, Park Soon-ho, at NYU Skirball.
SOURCE: The New York Times Subscription at 02:19PMIn Dean Moss’s “Your marks and surface,” at Danspace, images of softness and struggle coexist.
SOURCE: The New York Times Subscription at 04:13PM“Life of Pi” and Laura Linney on Broadway, Lise Davidsen at the Met Opera, SZA on tour: Here’s what we’re looking forward to this season.
SOURCE: The New York Times Subscription at 05:00AMIsrael Galván brought a new iteration of his visually pared-down, danced-without-music “Solo” to Baryshnikov Arts Center.
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