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“Her finesse comes in the gracious way she shows every angle of her body, the attention to é�貹�ܱ��𳾱�Գ� — the carriage of the arms and shoulders — all the while talking up space,” Gia Kourlas writes.

Her finesse comes in the gracious way she shows every angle of her body, the attention to é�貹�ܱ��𳾱�Գ� — the carriage of the arms and shoulders — all the while talking up space.

Throughout her 33-year career with City Ballet, Nichols made it seem as if steps were flowing — sometimes gently, sometimes with a wild, gushing power — through her limbs, her torso, her elegant upper body, as epitomized in the dynamic é�貹�ܱ��𳾱�Գ� of her shoulders and head.

Quinn Starner exudes a special luxuriousness, especially the way her crystalline é�貹�ܱ��𳾱�Գ� shows off the angles of her head and shoulders; Samuel Melnikov’s juicy jump has a way of lingering in the air, ever expanding through his long arms and fluent hands.

Forsythe celebrates ballet vocabulary in bounding jumps, small and large — and always in his use of é�貹�ܱ��𳾱�Գ�, or the angles and carriage of the arms.