Sight Lines

Arlene Croce collects her influential dance criticism in this volume spanning three decades of reviews for The New Yorker magazine. Her coverage focuses heavily on ballet and modern dance performances in New York City from the 1970s through the 1990s. The book includes assessments of major companies and choreographers including George Balanchine, Merce Cunningham, Paul Taylor, and Twyla Tharp. Her writing combines technical analysis of dance mechanics with broader cultural context and historical perspective. The reviews document shifts in American dance during a transformative period for the art form. These collected writings reveal dance criticism as a vital form of cultural discourse and highlight the intersection of art, society and creative evolution in late 20th century performance. The volume stands as both artistic chronicle and social document of a pivotal era.

There are not enough internet reviews to create a summary of this book. Instead, here is a summary of reviews of Arlene Croce's overall work: 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.

Dance Writings & Poetry by Edwin Denby This collection of dance criticism spans thirty years of New York City ballet and modern dance with technical analysis and historical context of performances.

Following Balanchine by Robert Garis The book documents George Balanchine's work through first-hand accounts of performances and rehearsals from 1945 through 1983.

Dance in America by Agnes de Mille A chronicle of American dance development examines the transformation of ballet and modern dance through profiles of key performances and performers.

Reading Dance by Robert Gottlieb This compilation presents dance writing from critics, performers, and choreographers across multiple centuries and continents.

No Fixed Points by Nancy Reynolds, Malcolm McCormick The text traces dance history through the twentieth century with focus on both major and lesser-known choreographers, companies, and dancers.

🌟 Arlene Croce served as The New Yorker's dance critic from 1973 to 1998, revolutionizing dance criticism through her detailed, analytical approach 📚 The book collects Croce's most significant dance reviews and essays spanning over two decades, offering a comprehensive look at late 20th-century dance 🎭 Croce famously sparked controversy in 1994 with her "non-review" of Bill T. Jones's "Still/Here," refusing to review what she termed "victim art" 🩰 Throughout Sight Lines, Croce pays particular attention to choreographers George Balanchine and Jerome Robbins, helping cement their places in dance history 🎨 Before becoming a dance critic, Croce founded Ballet Review magazine in 1965 and wrote extensively about film, bringing a multidisciplinary perspective to her dance writing