Quotes of All Topics . Occasions . Authors
I don't really think about dance except just before rehearsals start. I put it off. I don't live my life thinking about dance.
A lot of people are doing something about their weight, but by their own reckoning, it isn't enough to get the results they want
A lot of people are doing something about their weight, but by their own reckoning, it isn't enough to get the results they want.
Nothing is done easily, first have the thing, then the thing has a success, then all sorts of difficulties arise through the success.
The beauty to which the Dance ought to aspire is not dependent upon taste or pleasure, but is founded on the immutable laws of Nature.
In the dance, one finds the cinema, the comic strips, the Olympic hundred meters and swimming, and what's more, poetry, love and tenderness.
No no, we ALL teach each other, whether it's dancing, whether it's singing, whether it's talking, we all listen to each other. That's progress.
If I didn't have the reverb I'd be an unhappy camper. So I want reverb in my monitor mix. Reverb and a good level in my monitor and I'm all set.
The best way to study is to go to the Cecchetti method for about a year and draw onto all the highest points and then put that into the general method.
The deep art... That's the part that has to be guarded like a miser would his money... Like a dope addict would his dope... Like a lover with their love.
First of all, the most important, that is to learn everything good that has survived from other times, and carefully to watch the bad - and throw it out.
The art of Mime encompasses all the feelings of the soul. The Dance, on the other hand, is essentially an expression of joy, a desire to follow the rhythms of the music.
God gave us all exactly the same fingers, arms, legs, and feet, but in our different countries we divided them all a little differently as we feel it, do you understand?
I want to lift the audience to the miraculous in human nature. After all, we shouldn't be here, with all the odds against us in nature. It's kind of unusual and wonderful!
Art is the inheritance of every individual, it activates evolutionary growth, it is an intellectual virtue, and the fostering principle for all that is made, done, or known.
Oh yes, technique has definitely advanced. But you never advance without losing something en passant, and you lose it because you're paying so much attention to the new thing.
The noble entitlement bespeaks an élan, a certain type of relationship with your partner. It means formidable technique not displayed lightly. The excitement comes from elegance.
I know I can't do everything myself. So I know I specialize in my melodies and I do some of my demo work. I pass it on to my producers who are much better at the production level
I know I can't do everything myself. So I know I specialize in my melodies and I do some of my demo work. I pass it on to my producers who are much better at the production level.
Ford can't sell trucks currently, and GM is not selling as many cars as it would like to. That is a problem of product and pricing, not a systemic problem of abandonment by consumers.
By the end of it, you never know how it's going to turn out. Hopefully if I pick the right songs and put the right melodies on it and all the collaboration works out. it's a win-win situation.
The world loves a clone and a good knock-off. It cheats the artist... In the obsession for technical wizardry, people disappear; and if your voice isn't present in a relationship, you don't matter.
I had to learn that slower is faster If you practice every day with patience and correctness, you will get there. It's like preparing for a jump. You can't rush. You must summon the appropriate energy.
Also, if you have an accident, you can't start to dance again at the top, you're too weak; you start with the easy things - the way you did them when you were young, and come up up up, the way you did then.
We are developing the other parts, and we can't give quite all our attention to the upper part, but soon the lower parts will be developed, and the upper part and the lower part will become partners, that will be wonderful.
Everything in the phenomenal universe is straight line and circle. The horizon, our heads, arms, electrons, the oceans, planets and stars. Their principle function is to radiate. The task of the human being is also to radiate.
You can't stop what comes into a country, you can be influenced, but you can't stop it, you shouldn't, because it makes all the others interesting, we all get muddled up together, and produce something that belongs to everyone.
I get like a melody that comes up and I try to write it down or record it. Hum it into a tape recorder or write it down on some manuscript paper. It could happen at any time, on the road or off the road, but mostly, you know, at home.
Well, I mean, we are developing the other parts, and we can't give quite all our attention to the upper part, but soon the lower parts will be developed, and the upper part and the lower part will become partners, that will be wonderful.
My body can't demonstrate. It isn't willing to explore movements the way it used to. I've always had to find the movement in myself then show it in myself. If I've got the sense of movement for the character, I expect the dancer to get it too.
All the children in the school should learn the steps of everything, before they learn the thing, then they know which step they're doing better, because your voice is in certain steps and has to do most of the things that have been composed in those steps.
I would like to tell all dancers to forget themselves and the desire for self display. They must become completely absorbed in the dance. Even in a classical variation there should never be any thought of a dancer doing a variation--he should become identified with it.
The choreographer cannot deliberately make a ballet to appeal to an audience, he has to start from personal inspirations. He has to trust the ballet, to let it stand on its own strengths or fall on its weaknesses. If it reaches the audience, then he is lucky that round!
My intention was to grapple with the metaphysical meaning behind Scheherazade and present that meaning in its essence. Scheherazade is the symbol of the savior. She weaves tales not to save her own life, but to save humanity from its unending retributive response to injury.
Mannerism is not character, and affectation is the avowed enemy of grace. Every dancer ought to regard his laborious art as a link in the chain of beauty, as a useful ornament for the stage, and this, in turn, as an important element in the spiritual development of nations.
Dance training can't be separate from life training. Everything that comes into our lives is training. The qualities we admire in great dancing are the same qualities we admire in human beings: honesty, courage, fearlessness, generosity, wisdom, depth, compassion,and humanity.
The Dance can, with the aid of music, rise to the heights of poetry. On the other hand, through an excess of gymnastics it can also degenerate into buffoonery. So-called "difficult" feats can be executed by countless adepts, but the appearance of ease is achieved only by the chosen few.
The serious is the most difficult branch of dancing, it requires a close study, and cannot be duly appreciated but by connoisseurs and men of a refined and pure taste. She who excels in it deserves the highest applause. A correct execution of an adagio is the ne plus ultra of our art; I look on it as the touchstone of the dancer.
So many dancers feel that what they look like is more important than who they are. This is a real danger for dancers who focus for years on appearances and think of themselves as merely a body. The choreographer can't work with them in the realm of ideas. It's a huge problem if they haven't been connecting internally. If they've decided that what's inside is of little value, they can only try to approximate some kind of look.
I had to learn that slower is faster. If you practice every day with patience and correctness, you will get there. It's like preparing for a jump. You can't rush. You must summon the appropriate energy with split-second timing and have an understanding of purpose to get up in the air. It requires training, confidence and mental effort. You can't have a vocabulary without the alphabet. Balanchine used to say, "Do you want to be a poet of gesture or do you want to be a physical entity?"