Quotes of All Topics . Occasions . Authors
We learn by practice. Whether it means to learn to dance by practicing dancing or to learn to live by practicing living, the principles are the same. One becomes in some area an athlete of God.
The past is not dead; it is not even past. People live on inner time; the moment in which a decisive thought or feeling takes place can be at any time. Timeless feelings are common to all of us.
When you start with an idea, or something hits you, then you have to follow that through to the end, and it's the following through to the end that makes the pattern. That, for me, is choreography.
No artist is pleased. There is no satisfaction whatever at any time. There is only a strange, divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.
I have spent all my life with dance and being a dancer. It's permitting life to use you in a very intense way. Sometimes it is not pleasant. Sometimes it is fearful. But nevertheless it is inevitable.
It is not your business to determine how good it is, nor how valuable it is, nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open.
The main thing, of course, always, is the fact that there is only one of you in the world, just one, and if that is not fulfilled then something has been lost. Ambition is not enough; necessity is everything.
I believe that we learn by practice... it is the performance of a dedicated precise set of acts, physical or intellectual, from which come shape of achievement, a sense of one's being, a satisfaction of spirit.
I love words very much. I've always loved to talk, and I've always love words — the words that rest in your mouth, what words mean and how you taste them and so on. And for me the spoken word can be used almost as a gesture.
You have no right to go before a public without an adequate technique, just because you feel. Anything feels - a leaf feels, a storm feels - what right have you to do that? You have to have speech, and it's a cultivated speech.
Dancing is a very living art. It is essentially of the moment, although a very old art. A dancer's art is lived while he is dancing. Nothing is left of his art except the pictures and the memories--when his dancing days are over.
I'm asked so often whether I believe in life after death. I do believe in the sanctity of life, the continuity of life and of energy. I know the anonymity of death has no appeal for me. It is the now that I must face and want to face.
The next time you look into the mirror, just look at the way the ears rest next to the head; look at the way the hairline grows; think of all the little bones in your wrist. It is a miracle. And the dance is a celebration of that miracle.
In 1980, a well-meaning fundraiser came to see me and said, "Miss Graham, the most powerful thing you have going for you to raise money is your respectability." I wanted to spit. Respectable! Show me any artist who wants to be respectable.
I never thought of myself as being a genius. I don't know what genius is. I think a far better expression is a retriever, a lovely strong golden retriever that brings things back from the past, or retrieves things from our common blood memory
The body is your instrument in dance, but your art is outside that creature, the body. I don't leap and jump anymore. I look at young dancers, and I am envious, more aware of what glories the body contains. But sensitivity is not made dull by age.
We look at the dance to impart the sensation of living in an affirmation of life, to energize the spectator into keener awareness of the vigor, the mystery, the humor, the variety, and the wonder of life. This is the function of the American dance.
Dancing appears glamorous, easy, delightful. But the path to paradise of the achievement is not easier than any other. There is fatigue so great that the body cries, even in its sleep. There are times of complete frustration, there are daily small deaths.
I've relaxed my feelings about other companies performing my works. I have never in principle been against my ballets being danced by other companies. Rather, it is that we lack the time, space and money to insure that they are done well. To me, the only sin is mediocrity.
I did not want to be a tree, a flower or a wave. In a dancer's body, we as audience must see ourselves, not the imitated behavior of everyday actions, not the phenomenon of nature, not exotic creatures from another planet, but something of the miracle that is a human being.
To me, this acquirement of nervous, physical, and emotional concentration is the one element possessed to the highest degree by the truly great dancers of the world. Its acquirement is the result of discipline, of energy in the deep sense. That is why there are so few great dancers.
America does not concern itself now with Impressionism. We own no involved philosophy. The psyche of the land is to be found in its movement. It is to be felt as a dramatic force of energy and vitality. We move; we do not stand still. We have not yet arrived at the stock-taking stage.
I believe that dance was the first art. A philosopher has said that dance and architecture were the first arts. I believe that dance was first because it's gesture, it's communication. That doesn't mean it's telling a story, but it means it's communicating a feeling, a sensation to people.
I have heard stories that it was love at first sight for both of us, that we disappeared to a guest room at Merle's house, had our meals sent up, and didn't emerge for several days. This is absolutely untrue. I would never behave like that as a guest in someone's home. Carlos and I went to my beach house.
It is difficult to see the great dance effects as they happen, to see them accurately, catch them fast in memory. It is even more difficult to verbalize them for critical discussion. The particular essence of a performance, its human sweep of articulate rhythm in space and in time has no specific terminology to describe it by.
...Although, as the Latin verb to educate, educate, indicates, it is not a question of putting something in but drawing it out, if it is there to begin with...I want all of my students and all of my dancers to be aware of the poignancy of life at that moment. I would like to feel that I had, in some way, given them the gift of themselves.
A dancer, more than any other human being, dies two deaths: the first, the physical when the powerfully trained body will no longer respond as you would wish. After all, I choreographed for myself. I never choreographed what I could not do. I changed steps in Medea and other ballets to accommodate the change. But I knew. And it haunted me. I only wanted to dance.
How many leaps did Nijinksy take before he made the one that startled the world? He took thousands and thousands and it is that legend that gives us the courage, the energy, and arrogance to go back into the studio knowing that while there is so little time to be born to the instant, you will work again among the many that you may once more be born as one. That is a dancer's world.
There is a vitality, a life force, a quickening that is translated through you into action, and because there is only one of you in all time, this expression is unique, and if you block it, it will never exist through any other medium, and be lost. The world will not have it. It is not your business to determine how good it is, not how it compares with other expression. It is your business to keep it yours clearly and directly, to keep the channel open.
It takes about ten years to make a mature dancer. The training is twofold. There is the study and practice of the craft in order to strengthen the muscular structure of the body. The body is shaped, disciplined, honored, and in time, trusted. The movement become clean, precise, eloquent, truthful. Movement never lies. It is a barometer telling the state of the soul's weather to all who can read it. This might be called the law of the dancer's life, the law which governs its outer aspects
I believe that we learn by practice. Whether it means to learn to dance by practicing dancing or to learn to live by practicing living, the principles are the same. In each, it is the performance of a dedicated precise set of acts, physical or intellectual, from which comes shape of achievement, a sense of one's being, a satisfaction of spirit. One becomes, in some area, an athlete of God. Practice means to perform, over and over again in the face of all obstacles, some act of vision, of faith, of desire. Practice is a means of inviting the perfection desired.