Backstage during Bartók Ballet by New York City Ballet.
Photo by Nina Westerveldt
“A lot of the time I start with a new phrase, movement, or idea, but I’ll also bring along old material that feels interesting, that could be worked on more, or failed in another piece but I want to bring it forward,” says Tanowitz. “We come up with a list of what we’re interested in doing, and then they work on it by themselves. Then we FaceTime; I’m manipulating, and we’re working on timing and rhythm, or I’ll rearrange the order. It’s good, but hard—you’re not in the room together; the screen is an extra layer of buffer.”