Every choreographer, company, and work on Ballet Modern tagged 1980s. Browse all tags →
The founder of Tanztheater - dance as raw emotional theatre
The choreographer who invented Tanztheater and remains one of the most influential figures in the history of contemporary dance.
The choreographer who took Giselle, Swan Lake, and Carmen apart and rebuilt them as psychological drama
The Swedish choreographer who took apart Giselle, Swan Lake, and Carmen and rebuilt them as raw psychological dramas, while keeping their familiar music.
Deconstructing the classical vocabulary from within
The American choreographer who took classical ballet apart and rebuilt it as something faster, off-center, and unmistakably contemporary.
Building a rigorous, athletic third way between classical ballet and modern dance
The Czech choreographer who spent twenty-four years turning Nederlands Dans Theater into one of contemporary ballet's most influential companies.
Postmodern rigor and social-dance swagger, folded into classical technique
The postmodern-trained choreographer who proved ballet-trained bodies could dance social dance, boxing, and pedestrian movement without losing their classical footing.
William Forsythe, 1984 - ballet that interrupts itself
William Forsythe's first major work as director of Ballett Frankfurt interrupts its own choreography with spoken text, sudden blackouts, and a curtain that crashes down mid-phrase.
Mats Ek, 1982 - the Romantic classic rebuilt as barefoot psychiatric drama, to Adam's original score
Mats Ek's 1982 Giselle keeps Adolphe Adam's score but rebuilds the story around a village outsider whose breakdown lands her in an asylum - one of the most influential ballet reinterpretations of the 20th century.
William Forsythe, 1987 - ballet vocabulary pushed to its outer edge
Forsythe's 1987 work for the Paris Opera Ballet became the most widely performed piece of contemporary ballet repertory in the world.
Twyla Tharp, 1986 - stompers and bombers colliding in fog and stripes
Twyla Tharp's most performed work sets sneaker-clad 'stompers' against pointe-shoe 'bombers' in drifting fog, a commissioned Philip Glass score, and Norma Kamali's black-and-white stripes.
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