Arlene Croce

Arlene Croce is an influential American dance critic who served as a staff writer for The New Yorker from 1973 to 1998. Her analytical and historically informed dance criticism helped shape discourse around ballet and modern dance in the late 20th century. As founder of Ballet Review magazine in 1965, Croce established herself as a leading voice in dance criticism before joining The New Yorker. Her collected writings, particularly "Going to the Dance" (1982) and "Writing in the Dark" (2000), are considered essential texts in dance criticism and analysis. Croce sparked significant debate with her controversial 1994 article "Discussing the Undiscussable," in which she refused to review Bill T. Jones's "Still/Here," calling it "victim art." The piece led to extensive discussion about the role of criticism and the boundaries between art and activism. Her writing is known for its technical precision, historical context, and uncompromising standards, focusing particularly on the works of choreographers George Balanchine and Merce Cunningham. Croce's contributions to dance criticism have influenced subsequent generations of writers and critics in the performing arts.

Readers appreciate Croce's deep technical knowledge of dance and her ability to analyze performances in rich historical context. Dance students and professionals cite her work as helping them better understand ballet technique and choreography. Many note her clear, direct writing style and thorough documentation of major dance works of the 20th century. Critics say her writing can be overly academic and inaccessible to general audiences. Some readers find her tone harsh and elitist, particularly in her controversial critiques of modern dance. Her 1994 piece on "victim art" remains a point of contention. Common criticisms mention: - Dense writing style requiring extensive dance knowledge - Perceived bias against certain modern dance forms - Inflexible artistic standards From available online ratings: Goodreads: "Going to the Dance" - 4.2/5 (42 ratings) "Writing in the Dark" - 4.0/5 (28 ratings) Amazon reviews limited but generally positive for academic use Most reader reviews come from dance students, critics and professionals rather than general audiences.

Going to the Dance (1982) A collection of dance criticism essays from The New Yorker covering performances from 1973 to 1982, with particular focus on ballet and modern dance.

The Fred Astaire and Ginger Rogers Book (1972) A detailed analysis and historical account of all ten films featuring the dance partnership of Fred Astaire and Ginger Rogers.

Afterimages (1977) A compilation of dance reviews and essays examining major choreographers and dancers of the twentieth century.

Writing in the Dark, Dancing in The New Yorker (2000) A collection of Croce's dance criticism from The New Yorker spanning 1973 to 1996, covering ballet, modern dance, and various dance personalities.

Sight Lines (1987) A selection of dance criticism pieces originally published in The New Yorker, focusing on performances and developments in dance during the 1980s.

Edwin Denby wrote extensively about ballet and dance criticism for publications like Modern Music and Ballet Review. His collected works include "Looking at the Dance" and "Dance Writings," which analyze dance through cultural and historical contexts.

Joan Acocella covers dance and cultural criticism for The New Yorker, focusing on ballet and modern dance. Her book "Mark Morris" examines the choreographer's work through extensive interviews and performance analysis.

Marcia Siegel documented the development of modern dance through her reviews and books including "At the Vanishing Point" and "The Shapes of Change." Her writing emphasizes the connection between dance and broader cultural movements.

Jack Anderson has written dance criticism for The New York Times and Dance Magazine since the 1960s. His books "Ballet and Modern Dance: A Concise History" and "Art Without Boundaries" trace the evolution of dance forms.

Jennifer Homans wrote "Apollo's Angels: A History of Ballet" based on her experience as a dancer and historian. Her work combines historical research with technical analysis of ballet's development across cultures.