Marina Harss is a freelance dance writer and translator in New York. Her dance writing has appeared in The New Yorker, The Nation, Playbill, The Faster Times, DanceView, The Forward, Pointe and Ballet Review. Recent translations include Irène Némirovsky's The Mirador, Dino Buzzati's Poem Strip and Pasolini's Stories from the City of God.
Why a production of Prince Igor was a missed opportunity to call a truce between opera and dance.
In 1924, Lidia Ivanova, George Balanchine’s “lost muse,” disappeared on the eve of their company’s first European tour. Was her death an accident?
How a choreographer’s love for the basic truths of the body has remained uncompromising.
Alexei Ratmansky’s Shostakovich Trilogy renders the composer’s world and life in the Soviet Union through dance at American Ballet Theatre.
Ralph Lemon’s Come Home Charley Patton
Paul Taylor Dance Company has sustained a signature style, and without having left modern dance behind.
Can the work of Merce Cunningham survive his death and the closing of his dance company?
Jennifer Homans thinks ballet is dying, its masters dead and gone. But ballet, which exists in time and leaves no record, is always dying.
A celebrated Russian choreographer is charting a stylish new course for American Ballet Theatre.
The genius of Jerome Robbins.