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Daniel Nagrin

By MARCIA B. SIEGEL  |  January 12, 2009

After he retired from dancing, in 1981, Nagrin taught some of his solos to young dancers, but they never captured the edginess and urban energy of his own performances. On stage he was tense, jazzy, confrontational, a wiseguy, an insomniac, a risk taker. In class or in conversation you could feel his curiosity and his concern for you, once you got past being intimidated by that gimlet gaze of his. He was probing, always probing for the depth of experience, yours and his own.

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Related: Steps . . . and more steps, Year in Dance: Reusable histories & durable trends, Drama manqué, More more >
  Topics: Dance , Entertainment, Dance, Performing Arts,  More more >
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ARTICLES BY MARCIA B. SIEGEL
Share this entry with Delicious
  •   SNACKS  |  November 24, 2009
    The most substantial item in the assortment of dances by the Trey McIntyre Project last weekend was an oddly proportioned 20-minute meditation on climate change and Glacier National Park. McIntyre, whose company appeared at the ICA as part of the CRASHarts series, has gotten a lot of press exposure as an up-and-coming choreographer with serious ideas.
  •   SUSTAINABILITY  |  November 04, 2009
    If you wanted to know what happened at the Merce Cunningham memorial a week ago Wednesday in the Park Avenue Armory, you could get a thousand answers.
  •   DEFINITIONS  |  October 28, 2009
    Boston Ballet’s artistic director, Mikko Nissinen, wants us to think of his company as utterly contemporary, but it’s a tricky balance to pull off.
  •   SUNDAY SCHOOL  |  October 21, 2009
    Ronald K. Brown’s flamboyant choreography comes with a big serving of spirituality.
  •   REQUIEM DETEXTED  |  September 30, 2009
    Mozart's Requiem is one of the most controversial works in the classical repertory. Mozart had completed only parts of it and sketched other parts when he died, unexpectedly at age 35, in 1791. His death ignited immediate speculation and myth.

 See all articles by: MARCIA B. SIEGEL

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