Every choreographer, company, and work on Ballet Modern tagged 2010s. Browse all tags →
House, hip-hop, and release technique in conversation with memory
A MacArthur Fellow whose company, A.I.M, and commissions for ballet's biggest stages fuse house, hip-hop, and release technique into deeply personal work.
Large-scale spectacle with a wink - contemporary dance that laughs at itself
A former NDT and Cullberg dancer whose large-scale, wickedly funny works turn contemporary dance's own conventions - and its critics - into the subject of the piece.
Literary narrative recast as psychologically driven movement
A British choreographer known for turning novels and biographies into psychologically detailed narrative ballets, including The Cellist and Jane Eyre.
Restless, sneaker-clad energy inside a neoclassical frame
A former New York City Ballet corps dancer turned resident choreographer, known for propulsive, contemporary-inflected neoclassicism and crossover work on Broadway and film.
Physical theatre built from grief, memory, and the crowd
A former Ballett Frankfurt dancer who now builds some of the most acclaimed large-scale dance theatre of the last two decades.
The Vancouver company that reinvented itself - and shaped Crystal Pite
A regional ballet company that shed its classical repertory entirely to become an all-contemporary commissioning ensemble - and once counted Crystal Pite among its dancers.
Christopher Wheeldon, 2011 - Wonderland reimagined as a three-act spectacle
Christopher Wheeldon's three-act spectacle turns Lewis Carroll's Wonderland into one of the most widely restaged full-length ballets of its era.
Aszure Barton, 2012 - the body as origin and vessel
An ensemble work built around the many cross-cultural words for 'mother,' exploring motherhood and womanhood through visceral, weighted movement.
Crystal Pite & Jonathon Young, 2015 - grief staged as a haunted vaudeville
A dance-theatre work built from actor Jonathon Young's own experience of loss, co-created with choreographer Crystal Pite.
William Forsythe, 2016 - deconstruction, resolved into song
William Forsythe returns to melodic, pointe-driven ballet vocabulary, setting songs by musician James Blake for the Paris Opera Ballet.
Alexander Ekman, 2010 - a satire of contemporary dance and the critics who explain it
Sixteen dancers, square white platforms, potted cacti, a live string quartet, and a voiceover in the overblown language of dance criticism - Ekman's best-known satirical work.
Helen Pickett, 2019 - Arthur Miller's Salem, told without a word
Scottish Ballet's award-winning full-length adaptation of Arthur Miller's witch-trial drama, built on a classical base but played as taut physical theatre.
Akram Khan, 2011 - one dancer, an inherited homeland
Akram Khan's Olivier Award-winning solo mixes spoken storytelling, animation, and punishing solo dance to trace his relationship to his father and to Bangladesh.
Hofesh Shechter, 2017 - a wild waltz staged among sliding black monoliths
A meditation on conflict and mortality staged among sliding black monoliths, blending Shechter's own score with recomposed classical fragments.
Cathy Marston, 2016 - a novel's interior life given danced form
Cathy Marston's adaptation of Charlotte Brontë's novel for Northern Ballet, staging Jane's inner turmoil through a device of shadow men who trip, obstruct, and carry her.
Kyle Abraham, 2012 - a neighborhood remembered in movement
Kyle Abraham weaves John Singleton's Boyz n the Hood and W.E.B. Du Bois's sociology of Black Philadelphia into a meditation on his own Pittsburgh neighborhood.
Alexei Ratmansky, 2014 - a gallery walk translated into steps
Alexei Ratmansky's abstract, wittily musical response to Mussorgsky's Pictures at an Exhibition, made for New York City Ballet.
Hofesh Shechter, 2010 - history's violence played at full volume
A large-scale, deafeningly loud work for a stage packed with dancers, electric guitarists, and drummers, staring directly at authoritarianism and political violence.
Ohad Naharin, 2011 - twenty-one fields, one continuous body
Ohad Naharin builds Batsheva Dance Company's Sadeh21 from 21 sequential 'fields,' performed on a bare stage dominated by a tall white wall dancers fall from and into.
Justin Peck, 2017 - ballet unlaced from pointe shoes
Justin Peck's high-energy ensemble piece, danced largely in sneakers rather than pointe shoes, became known for its socially engaged tone and a landmark same-sex principal pairing.
Christopher Wheeldon, 2012 - a duet built for one dancer's second act
A duet made for New York City Ballet's Wendy Whelan, set to Max Richter's mashup of his own score with Dinah Washington's voice, that became a defining contemporary pas de deux of its decade.
Alexei Ratmansky, 2017 - a candy-colored fever dream for American Ballet Theatre
A fantastical, candy-colored full-length ballet for American Ballet Theatre, built from Richard Strauss's score and artist Mark Ryden's surreal designs.
Wayne McGregor, 2015 - three novels, one dancer's return to the stage
Wayne McGregor's three-act meditation on Virginia Woolf's novels and life, made with Alessandra Ferri's return to The Royal Ballet.
Akram Khan, 2018 - a soldier's memory, danced as farewell
Announced as Akram Khan's final full-length solo as a dancer, Xenos follows a colonial Indian soldier's unraveling memory in the trenches of WWI.
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