How Benjamin Millepied Taught Natalie Portman to Dance for Black Swan

“The truth is, she danced when she was little, but when I first saw her in class, I thought: How am I going to turn this person into a ballerina in three months? I didn’t think it was going to work. … [But she] was able to start to make her body do it. She’s not going to get the credit she deserves, but it was amazing what she’s done.”

How a Ballerina Dances While Deaf

“[Nina] Falaise uses the tiny threads of residual hearing she has to hear the lowest notes in music – low notes which she says she ‘treasures very much’. Like many deaf people, she has a small amount of hearing that she utilises to the maximum. Falaise also senses music through vibrations – much the same vibrations as a hearing person will sense in a loud concert.”

Mark Morris on Dance Cos. That Don’t Use Live Music

“If you don’t have enough money to use gigantic orchestral music with a giant orchestra, don’t choreograph to it. There’s always a pianist who’s eager and maybe you can afford. … A recording of a performance is a recording of a performance. It’s not the performance. … And, you know, I’m not saying, ‘Shame on everybody for not doing that, doing what I do,’ ’cause it’s of course expensive and complicated.”

A Choreographer’s Homecoming (or Not): Carolyn Carlson’s Return to America

“She is a celebrity in Europe, and her work has had a major impact on the dance scene there. Yet strangely, upcoming performances [in NYC and New Jersey] mark the first time in more than 20 years that her dances have been seen in the United States. It’s tempting to call these engagements a homecoming … But what gives a place the right to be called home?”