To spend some quality time with Taylor Stanley is to realize that this New York City Ballet principal dancer — bold and forthright onstage — is as sensitive as they come. When he dances, he soars; in life, he swerves into self-doubt.
Yet Mr. Stanley, a shy and self-effacing mixed-race 27-year-old gay man, has become one of the company’s most valued principals, both for his dancing and for what his presence means. He is a bridge between the staid, mostly white traditional ballet world and a new, more open one. When he performed a solo to Jay-Z and Kanye West, deftly blending fragments of hip-hop with classical ballet in Kyle Abraham’s “The Runaway” last fall, the audience erupted in the kind of whoops and cheers you don’t usually hear at Lincoln Center. It was a star-making turn.
But it’s not easy being a bridge. Mr. Stanley is a ballet dancer, yet he’s curious about the experiences he could have with other dance forms. Is City Ballet even the right fit, he wonders? And now he has another reason to question himself and his abilities. When the curtain rises on the first ballet of the first night of the winter season, he will be center stage in a brand-new role: Apollo.
The central part in “Apollo” (1928) — the oldest George Balanchine work that the company performs — is one of the most difficult male roles in the repertory, requiring athleticism and dramatic depth. Jacques d’Amboise, the former City Ballet star, once described the role, in which the young god is guided to adulthood by three muses, as having “more in it than any dancer is capable of doing.” For Mr. Stanley, it carries even more weight. City Ballet has had only one African-American Apollo — once. Craig Hall performed the role in 2011 as part of a Dancers’ Choice evening in which casting was not assigned by the artistic staff but by peers.
“It was a hallelujah moment,” Mr. Stanley said in an interview between rehearsals at Lincoln Center. “It planted some kind of seed that said ‘This is possible.’”
It’s apt that Mr. Hall, now a member of the interim team running City Ballet while the company searches for a new leader, played a part in the decision to cast Mr. Stanley, whom he is also coaching in the role. (Peter Martins, the company’s longtime artistic director, retired last January amid accusations of physical and sexual abuse — accusations he has denied.)
And Mr. Stanley’s debut is meaningful to Mr. Hall. “There’s always a person in the audience who’s watching for the very first time,” he said. “Whoever comes in and sees Taylor performing will think of Apollo as someone who looks like him. That’s really important — and not to give him any more stress, but until now, we’ve had something that was cut from the same block.”
Mr. Stanley is not cut from any block. When Mr. Abraham was choreographing “The Runaway,” he recalled watching him at an early rehearsal. “It took everything I had not to just start laughing in shock at how good he was,” Mr. Abraham said. For Mr. Stanley, who became a principal in 2016, it’s a great time to be that good. Recently, the male principal ranks at City Ballet were depleted when three dancers left or were fired amid issues of sexual misconduct. (Another, Joaquin De Luz, retired.)
Mr. Hall sees Mr. Stanley as a role model offstage as well as on. “In this day and age, it’s important to see someone who is not only talented, but has a good heart,” he said. “That makes him a bigger star: to take the time to care for people when no one’s watching.”
And then there’s his luminous musicality and razor-sharp technique. “He’s a gentle tornado in a way,” Mr. Hall said. “He’s quiet and he’s so calm until he’s destroying your heart.” He added: “And then the minute you tell him how great it was, he runs away from it.”
It’s true that Mr. Stanley’s self-image could use improving. “He has the weight of trying to please everyone, and that is beautiful and humbling,” Mr. Hall said, adding: “He’s like the most perfect knight.”
Tiler Peck, a fellow principal who will dance Terpsichore opposite Mr. Stanley’s Apollo, sees it too. “I am super hard on myself, but he takes it to another level,” she said. “Sometimes I’m like, ‘You’re allowed to think that one thing you do is good.’”
Mr. Stanley started studying dance when he was 3 in West Chester, Penn. His parents enrolled him after he reacted enthusiastically to a performance by the Pennsylvania Ballet. He attended the Rock School, where along with ballet, he studied tap and jazz; then the City Ballet-affiliated School of American Ballet. In the training there, he found a quality that he said he had been resisting while “trying to be a ‘male ballet dancer.’”
The S.A.B. men’s classes instilled strength in the legs, but also encouraged an airy port de bras, or carriage of the arms. “They allowed for a language with your wrists and your hands,” he said, “and allowing emotions to come through still with your upper body.”
That combination of soft and hard gives him a kind of gender-fluid allure. When Lauren Lovette couldn’t find the right female dancer for her ballet “Not Our Fate,” she used Mr. Stanley instead. Soon after, Justin Peck cast him, opposite Daniel Appelbaum, in what had been a female part (Ms. Peck’s) in his contemporary sneaker ballet “The Times Are Racing.”
In his spare time, Mr. Stanley stretches his own boundaries by dipping into other dance forms. When he can, he studies Gaga, a movement language created by the Israeli choreographer Ohad Naharin, in which practitioners are given instructions to open themselves to physical sensations.
Ms. Peck said she noticed his versatility early on. For “Apollo,” she has urged him not to get hung up on others who have performed the role, but to make his own version. Yet the road he travels the most is “the self-critical” one, he said. “It’s a comparison thing. It’s a worthiness thing.”
But as he faces the challenge of performing “Apollo,” he said he realized something: Maybe all this angst is part of maturing, not just as a dancer but as a person. “Is the pressure necessary?” he said. “Is it unnecessary?” He paused. He thought. He seemed, as he sometimes does, like a dance-world Hamlet.
“And then it’s, like, ballet,” he said, with a laugh, “It’s just ballet at the end of the day. We all go home and eat dinner and go to sleep.”
At the same time, Mr. Stanley is restless. Last summer, he traveled to Tel Aviv to participate in a Gaga intensive led by Mr. Naharin, along with dancers from Batsheva Dance Company.
“It just opened me up and put a mirror to myself in ways that the mirror here does not,” he said. “It caused me to sense everything without even scratching the surface.”
If Mr. Stanley radiated a deeper intensity in his stage-stealing solos in Mr. Abraham’s “The Runaway,” that was in part because of his Gaga immersion. “I’m more focused on trying to feel what I want to feel,” he said, “rather than trying to be somebody, which is why ‘Apollo’ is challenging. I get to choose my path in ‘The Runaway.’”
But Mr. Stanley is less sure of his actual dancing path. The uncertainty at City Ballet, which has yet to name a new artistic director, can, he said, “start to eat away a little bit on the inside.”
Will he stay at City Ballet? Will he leave? Mr. Stanley took a slow, deep intake of breath and laughed nervously. “It’s a daily question,” he said. “It’s like I’m trying to observe how much love I have for ballet — how it feels physically and what it does for me emotionally. If it’s worth the love, if it’s worth the relationship or if it will just continue to make me more calculated and more unsure of myself?”
Ms. Peck said, “I keep telling him to stick it out,” and Mr. Hall said it would be devastating if Mr. Stanley were to leave. “But that’s out of a selfish feeling,” Mr. Hall said, “and I know that artists need to go and discover and find themselves.”
Mr. Stanley clearly misses Tel Aviv and the bonds that he formed with dancers there. “Something right below your sternum is aching and the whole point of Gaga, especially, is to explore that and to open that up and invest in that,” he said. “I’ve done too much suppressing and repressing.”
On the final day of the intensive, there was a Champagne celebration in the studio. He described it as one of those special moments when, “You’re around your own campfire and people are just giving you the tea that you need.”
And he wants more. “Am I allowed to feel that here?” Mr. Stanley wondered. “It comes in increments, as it should. But I don’t want to feel like I can’t feel that here. Being out of New York for a period of time could be healthy, and I think that’s being more respected too, now — dancers listening to themselves and listening to their needs.”B:
马会官方网钻“【额】，【小】【子】【你】【说】【什】【么】？”【为】【首】【的】【那】【个】【小】【混】【混】【微】【微】【一】【愣】，【随】【后】【他】【听】【出】【来】【了】，【这】【小】【子】【是】【在】【威】【胁】【自】【己】：“【你】【是】【不】【是】【不】【想】【活】【了】？” “【怎】【么】【就】【不】【听】【劝】【呢】？”【楚】【阳】【无】【奈】【的】【摇】【摇】【头】，【这】【里】【坐】【着】【两】【个】【暴】【力】【女】【警】，【这】【些】【小】【混】【混】【到】【底】【怎】【么】【想】【不】【开】【的】，【来】【找】【她】【们】【搭】【讪】，【自】【己】【这】【是】【在】【救】【他】【们】。 “【呦】【呵】，【你】【还】【想】【劝】【我】，【给】【你】【脸】【了】，【知】【不】【知】【道】【我】
【紫】【禁】【城】【内】【安】【静】【如】【墓】【地】【一】【般】【沉】【默】，【怀】【庆】【府】【丢】【失】【的】【消】【息】【都】【不】【能】【惊】【起】【一】【分】【波】【澜】。【这】【段】【时】【间】【以】【来】，【坏】【消】【息】【一】【个】【接】【着】【一】【个】【传】【来】，【崇】【祯】【皇】【帝】【的】【情】【绪】【也】【越】【发】【乖】【张】【凶】【戾】，【前】【几】【天】【才】【有】【一】【个】【写】【错】【文】【字】【的】【司】【礼】【监】【宦】【官】【被】【打】【的】【半】【死】，【今】【天】【又】【有】【一】【名】【宫】【人】【被】【责】【罚】。 【皇】【帝】【的】【心】【情】【一】【天】【差】【过】【一】【天】，【紫】【禁】【城】【的】【气】【氛】【也】【一】【天】【比】【一】【天】【灰】【暗】【了】【起】【来】。 “【是】
【写】【这】【本】【书】【的】【初】【衷】，【有】【没】【有】【想】【出】【成】【绩】【呢】？【大】【概】【是】【有】【一】【点】【的】。 【不】【过】【最】【开】【始】【我】【最】【纯】【粹】【的】【想】【法】，【是】【通】【过】【这】【本】【书】，【找】【到】【自】【己】【身】【上】【的】【问】【题】，【然】【后】【一】【个】【个】【解】【决】【掉】。 【它】【是】【一】【个】【心】【理】【治】【疗】【的】【过】【程】。 【所】【以】【在】【书】【里】【会】【有】【怼】【小】【混】【混】【和】【拉】【着】【全】【家】【人】【成】【长】【的】【情】【节】，【也】【有】【各】【种】【认】【识】【自】【身】【错】【误】【并】【不】【断】【改】【正】【的】【情】【节】，【还】【会】【有】【死】【亡】【焦】【虑】【的】【情】【节】。
【半】【晌】，【落】【叶】【飘】【零】【狼】【狈】【的】【从】【地】【上】【爬】【起】【来】，【嘴】【里】【一】【边】【发】【出】【啧】【啧】【的】【声】【音】，【一】【边】【围】【着】【古】【峰】【转】【了】【好】【几】【圈】，【左】【看】【看】【右】【看】【看】，【上】【看】【看】【瞎】【看】【看】，【弄】【的】【古】【峰】【丈】【二】【和】【尚】【摸】【不】【着】【头】【脑】，【不】【知】【道】【她】【要】【干】【嘛】。 【边】【看】【边】【半】【信】【半】【疑】【的】【问】【道】：“【他】【是】【你】【们】【帮】【主】？？【风】【雨】【盟】【的】【老】【大】？？【那】【个】【比】【武】【大】【会】【的】【冠】【军】？？【一】【直】【以】【来】【占】【据】【各】【大】【排】【行】【榜】【首】【位】马会官方网钻【正】【在】【和】【诺】【斯】【萨】【坦】【星】【人】【大】【军】【战】【斗】【的】【陆】【游】【虽】【然】【看】【到】【了】【这】【一】【情】【况】，【可】【是】【面】【对】【整】【个】【诺】【斯】【萨】【坦】【星】【人】【大】【军】【的】【攻】【击】，【纵】【然】【陆】【游】【想】【要】【拦】【截】【也】【是】【心】【有】【余】【而】【力】【不】【足】。 “【现】【在】【只】【能】**【团】【他】【们】【能】【顶】【住】【了】。”【陆】【游】【脑】【海】【中】【闪】【过】【这】【个】【念】【头】，【然】【后】【开】【始】【专】【心】【的】【和】【诺】【斯】【萨】【坦】【星】【人】【大】【军】【的】【战】【斗】。 ——————————————— 【就】【在】【陆】【游】【和】【诺】
【最】【终】【林】【柳】【书】【还】【是】【答】【应】【了】【雅】【典】【娜】，【确】【定】【好】【时】【间】，【林】【柳】【书】【抽】【空】【回】【了】【趟】【永】【恒】【之】【森】【打】【听】【了】【一】【下】【消】【息】。 “【生】【命】【古】【树】【的】【洗】【礼】【吗】？【是】【的】，【那】【确】【实】【是】【一】【种】【极】【高】【纯】【度】【的】【生】【命】【力】，【不】【过】【因】【为】【精】【灵】【回】【廊】【抽】【取】【的】【缘】【故】，【所】【以】【针】【对】【精】【灵】【层】【次】【的】【增】【幅】【消】【息】，【留】【下】【来】【的】【只】【是】【少】【量】【的】【生】【命】【力】，【单】【纯】【的】【赋】【予】【身】【体】【极】【高】【活】【性】【的】【力】【量】。” “【诶】？【怎】【么】【样】【才】【能】