A mesmerising catalogue of the body’s uses and abuses in our society, Sasha Waltz & Guest presents Körper an old-time favourite at the Haus der Berliner Festspiele.
The 2018 installment of Sydney Dance Company's annual showcase for new choreographers, New Breed, brings four diverse and experimental works to the stage.
A HAU am Hebel’s production, Ligia Lewis’ Water Will (in Melody) is surely a raw and direct, disturbingly grotesque, beautifully poetic and unwittingly explicit journey to an unfortunately unknown destination.
Slolem Aleichem's classic of Yiddish literature is familiar through the musical “Fiddler on the Roof”. Choreographer Richard Wherlock’s adaptation retells the story in vibrant, contemporary dance.
When Nitin Sawhney envisioned a theatrical realisation of his album Dystopian Dream, Sébastien Ramirez and Honji Wang were commissioned to bring it to life on stage. Joined by singer Eva Stone, the result is a hybrid production of dance and music performances.
Audio and film permeate Marriott's new work for the Royal Ballet, recounting the tale of Ted Feltham, a British Soldier uuring World War 1, and his fiancée, Florence Billington.
Minimal yet expressive, archaic mythology collides with the contemporary world in Kat Válastur’s Stellar Fauna at the HAU Hebel am Ufer highlighting the things upon which our survival depends.
An augmented reality app, film, photos, and a diverse live triple bill feature in Queensland Ballet's latest celebration of emerging and experimental choreographers and artists.
The Staatsballett jumps into the opulence of the past with Alexei Ratmansky’s reconstruction of Marius Petipa’s choreography of La Bayadère at the Staatsoper Unter den Linden
Bill T. Jones/Arnie Zane Company captures the audience for seven hours during this trilogy of works meditating on memory, suffering, and relationships.
Birmingham Royal Ballet presents a double bill subtitled ‘Two ballets fuelled by power and politics’ as part of David Bintley’s last season as director.
Sydney Dance Company's contrasting double bill revisits Rafael Bonachela's elegantly reflective Frame of Mind and premieres Antony Hamilton's bemusing and rave-inspired Forever & Ever.
Projecting [space[ by Meg Stuart / Damaged Goods is a two hour immersion between dance and performance art, a way of finding the Other within us, presented at the Reinbeckhallen for HAU.
Abstract ballet always asks the question of meaning, and Alonzo King Lines Ballet is one of the few companies that answers that question with existential exactness.
As City Ballet grapples with lawsuits and lurid accusations, and the loss of an unprecendented number of male principals, new works by Kyle Abraham, Gianna Reisen, and Matthew Neenan stoke inspired performances from the dancers.
Les Grands Ballets Canadiens has brought a brand new piece to the stage; a neo-classical adaptation of D.H. Lawrence’s controversial novel, Lady Chatterley’s Lover.
For three decades, Acosta has given his audiences performances of pure pleasure. As someone who had to work against the odds to reach the top, he became one of those rare classical ballet dancers whose brilliance and incredible technical achievements, wrapped up with convincing characterisation and humble charisma, have set stages alight around the world.
The Australian Ballet’s adaptation of the historic Ancient Roman story fuses violence, seduction, and the anguish of separation. It delivers a mesmerising display of masculinity, through widly explosive battle scenes.
Lest We Forget, a triptych of original work first commissioned in 2014 for the centenary of the outbreak of the First World War now returns to the repertoire to commemorate a hundred years since the armistice of 1918.
To reassure the sceptics, the break from tradition of Stijn Celis’ Your Passion is Pure Joy to Me, and Sharon Eyal’s and Gai Behar’s Half Life made for a great start to the Staatsballett Berlin’s new season.
