Afterimages

Afterimages collects dance criticism from Arlene Croce's tenure at The New Yorker, spanning 1974-1984. The compilation presents reviews and essays that document major performances and chronicle developments in ballet and modern dance during a transformative decade. The book captures Croce's observations of legendary companies and dancers, including New York City Ballet, American Ballet Theatre, and pivotal choreographers like George Balanchine and Jerome Robbins. Her writing examines technique, artistry, and the evolution of dance styles through detailed performance analysis. Reviews range from emerging dancers to established stars, offering perspective on both breakthrough moments and artistic transitions within the dance world. Each piece connects individual performances to broader cultural and artistic contexts. The collection reveals how critical writing can engage with ephemeral art, preserving fleeting moments of performance through description and analysis. Through Croce's lens, readers gain insight into a crucial period in American dance history and the development of dance criticism as an art form.

Reviews indicate that Afterimages serves dance criticism students and enthusiasts, with many appreciating Croce's detailed analysis of performances from the 1970s-80s. Readers note her knowledge of dance history and clear writing style. Readers highlight: - Specific observations about choreographers like Balanchine - Historical context for major dance works - Technical breakdowns of performances Common criticisms: - Dense writing that requires dance knowledge - Some find her opinions too harsh - Articles can feel dated Ratings: Goodreads: 4.5/5 (12 ratings) Amazon: No ratings available A reader on Goodreads noted: "Her descriptions transport you to the actual performances." Another wrote: "Her technical analysis can be overwhelming for casual readers." Limited reviews exist online for this 1977 collection of criticism. Most discussions appear in academic contexts rather than consumer review sites.

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🎭 Arlene Croce served as The New Yorker's dance critic for over two decades (1973-1998), establishing herself as one of the most influential voices in dance criticism. 🩰 The book covers pivotal moments in dance history from the 1970s and 1980s, including detailed analyses of performances by Mikhail Baryshnikov and Suzanne Farrell. 📚 "Afterimages" was published in 1977 and compiles Croce's reviews and essays from various publications, providing a comprehensive look at both classical ballet and modern dance. ⭐ Croce founded Ballet Review magazine in 1965 and helped establish dance criticism as a serious intellectual pursuit in American journalism. 🎨 The author's writing style is known for combining technical expertise with cultural context, making complex dance concepts accessible to general readers while maintaining scholarly depth.