《海滨广场》（1975）：

    舞如其人，果不其然。令人心跳的健康体魄、阳光明媚的生命情怀、按捺不住的青春冲动、自然流畅的舞蹈语言，一直是保罗·泰勒本人及其作品的主体特征，更是《海滨广场》的注册商标。
美国现代舞1970年代的“走·跑·跳”，泰勒舞蹈团征服世界的“压轴戏”！

    An esplanade is a place to walk; in 1975 Paul Taylor, inspired by the sight of a girl running to catch a bus, created a masterwork based on pedestrian movement.  If contemporaries Jasper Johns and Robert Rauschenberg could use ordinary “found objects” like Coke bottles and American flags in their art, Taylor would use such “found movements” as standing, walking, running, sliding and falling.  The first of five sections that are set to two Bach violin concertos introduces a team of eight dancers brimming with Taylor’s signature youthful exuberance.  An adagio for a family whose members never touch reflects life’s somber side.  When three couples engage in romantic interplay, a woman standing tenderly atop her lover’s prone body suggests that love can hurt as well as soothe.  The final section has dancers careening fearlessly across the stage like fearless warriors.  The littlest of them – the daughter who had not been acknowledged by her family – is left alone on stage, triumphant: the meek inheriting the earth.

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