There’s an inherent tension anytime a new dancer breathes life into an existing work onstage. Interpreting a role is always a push and pull, says Ronni Favors, rehearsal director for Alvin Ailey American Dance Theater, between what the performer brings and what was already there. “Alvin said, ‘I like dancers who can color movement, who […]

Rehearse, try, practice, experiment. These are the verbs of the studio realm: the safe space where dancers learn choreography, work through notes, and polish steps until they are gleaming and ready. But even with extensive rehearsals, what happens next involves an element of unpredictability: presenting the work before a live audience.

This summer, dance fans will be on the edge of their seats awaiting the debut of the newest Olympic sport: breaking. But when the style takes the Olympic stage, how will the competition unfold, and what should viewers be looking for? Understanding the intricacies of the judging system—and how it’s been adjusted to work in the Olympics, while still honoring breaking’s history—offers a window into how an art form will be incorporated into one of the most-watched sporting events worldwide.

Beyond the delicately winged foot that goes in and out of favor in ballet’s arabesque, performers may be asked to wing and/or sickle their feet as part of choreography. While winging (toes pointed outward) and sickling (toes pointed inward) involve relatively small ranges of motion, to execute them safely requires proper strength and an understanding of the anatomy of the foot and ankle.

For dancers, strengthening acting ability can enhance not only artistry and confidence but also storytelling onstage. After all, there is a lot of overlap between the two art forms. “Acting is mostly listening and being present,” says Isadora Wolfe, the associate artistic director of Sleep No More and a teacher of the Acting for Dancers class at The Juilliard School. “Dancers have those skills. That’s what we’re doing all the time: listening in a million different ways.”

While dance is often considered inextricably linked to music, the absence of music can open a unique space for exploration. Three artists share their experiences and advice for dancing in works without music.

Successful partnering requires trust, honesty, and connection. A productive partnership doesn’t usually come right away, but is instead developed through thoughtful and intentional work. Communication skills are essential. Whether you’re touching base after class or rehearsal, in the midst of a pas de deux on opening night, or anytime in between, there are many strategies to share your feelings and be heard.

Dance often takes inspiration from music. But what happens when your creativity is stirred by an art form that is less straightforward to translate into dance? Or what if you’d like to create based on another form, but aren’t sure quite where to begin?