Marina Harss

Marina Harss writes for The New Yorker, The New York Times and The Nation among other publications. She is currently working on a book about Alexei Ratmansky.

Tiler Peck moves through tendu back as she gives a note in the studio. Mira Nadon imitates her from a bit upstage, while a third dancer in sweats looks on. All wear pointe shoes.

News

Tiler Peck Choreographs Her First Work for New York City Ballet

Marina Harss

a group of male dancers in releve holding their arms out to the side with hands flexed

Dancer Spotlight

Introducing American Ballet Theatre’s Michael de la Nuez

Marina Harss

a woman smiling at the camera

Dance Magazine Awards

Celebrating Dance Magazine Award Honoree Bijayini Satpathy

Marina Harss

a book cover with the title "Illusions of Camelot"

News

Dancer and Director Peter Boal’s Thoughtful New Memoir Considers the Childhood Turmoil that Would Shape His Approach to Dance

Marina Harss

a male dancer in a wide lung supporting a female dancer behind him in an arabesque

Dancer Spotlight

Ukrainian Dancer Stanislav Olshanskyi Finds His Place at Miami City Ballet

Marina Harss

Lloyd Knight is a tall, muscular Black man here wearing red leggings with silver bands at the calves. He poses against a white backdrop in forced arch, the leg closest to the camera raised in parallel attitude front. His torso arches back, nearly parallel to the ground, as he raises his arms in a purposefully bent third position. His head turns toward the camera with an easy, open smile as he tips off-balance.

Cover Story

Lloyd Knight Illuminates the Stage at Graham and Beyond

Marina Harss

female dancer wearing tutu performing developpe ecarte

The Creative Process

Arts Administrator Sonja Kostich’s Savvy Approach to Risk-Taking Pays Off

Marina Harss

Black and white image of a dancer sitting with knees crossed and lifted up to her forehead, in a unitard and pointe shoes

Cover Story

Cassandra Trenary Comes Into Her Own

Marina Harss