Quotes of All Topics . Occasions . Authors
Honestly, I have had to live like a high priestess in this show. It is a very, very lonely life. When you work the way I work - that means hard - there's no time for play.
The dancer of the future will be one whose body & soul have grown so harmoniously together that the natural language of the soul will have become the movement of the body.
I absolutely will not allow anyone to call me grandmother. They can call me Auntie Joan, Dee-Dee, Cho-Cho, anything but grandmother. It pushes a woman almost to the grave.
I mean, there's definitely a difference between film and live performances or live television. But at the same time, it's just performing. No matter what, it's performing.
Great athletes last because they let the mental do all the work. What we do as hoofers is not so much a physical strain as everybody thinks. It's more of a mental stretch.
When you think about John Coltrane, in my opinion - and I think I share this opinion with a lot of people - his approach to music changed other people's approach to music.
'The Creative Habit' is basically about how you work alone, how you survive as a solitary artist. 'The Collaborative Habit' is obviously about surviving with other people.
Even on the most tiresome of days, I need to give my daughter and husband one hundred percent of my energy. They deserve that love, and in the end, it only fuels my energy.
I went through this phase where I thought pink and purple matched. To dance class, I'd wear purple tights and pink leg warmers and paint my shoes purple. It was really odd.
I tried a little of everything when I was little. I tried karate, I tried ballet, I tried piano lessons and singing lessons... I was a pretty normal kid, for the most part.
Like an athlete, [dance] is an everyday job. You have to stay in shape - unless you just want to loaf through a couple of hoofing routines. But that just didn't satisfy me.
Man must speak, then sing, then dance. The speaking is the brain, the thinking man. The singing is the emotion. The dancing is the Dionysian ecstasy which carries away all.
I always thought that if I ever got good reviews I'd be happy. It's so empty. It's never what I wanted, ever. All I wanted was just what everybody else wants - to be loved.
I want tap to be something danced in arenas. Sort of like a rock group. Other art forms happen every night. Take theater, opera; there's always opera happening every night.
I am fairly concise when I work and I work quickly because I think work is done better in a high gear than done our in a gear when everyone's exhausted. Get focused, do it!
During the first couple of years of 'Dancing with the Stars,' I would go to Jack in the Box in my ball gown after the shows and get the Taco Nachos with cheese as my reward.
First of all, break-dancing has been done for years, though not all of it put together the way it is now. But, actually, the distinctions have been blurring since the 1950s.
Dance is bigger than the physical body. When you extend your arm, it doesn't stop at the end of your fingers, because you're dancing bigger than that; you're dancing spirit.
Once you get depressed, you don't really feel like doing anything. You're kind of discouraged about yourself, and then the weight gain, too, or that makes me more depressed.
The Nicholas Brothers were the best tap-dancers. I'm not talking about their flash-dancing, I'm talking about tap-dancing. They were really saying something with their feet.
We may not all break the Ten Commandments, but we are certainly all capable of it. Within us lurks the breaker of all laws, ready to spring out at the first real opportunity.
If I was very high-strung, I probably would've knocked a few people out by now, and, you know, you would have seen a bad side of me that probably, hopefully, I'll never show.
I always tell students that you've got to be practical. You do not need a dream. You need a purpose, something you can wake up to in the morning when the dream is dissipated.
If you've earned a position, be proud of it. Don't hide it. I want to be recognized. When I hear people say, 'There's Joan Crawford!' I turn around and say, 'Hi! How are you!'
I'd studied dance in Chicago every summer and taught it all winter, and I was well-rounded. I wasn't worried about getting a job on Broadway. In fact, I got one the first week.
I'd studied dance in Chicago every summer end taught it all winter, and I was well-rounded. I wasn't worried about getting a job on Broadway. In fact, I got one the first week.
We can go on talking about racism and who treated whom badly, but what are you going to do about it? Are you going to wallow in that or are you going to create your own agenda?
On 'Scandal,' the majority of the cast, if not all of the cast, comes from theater, so it's a healthy environment. People come into work and actually go home to their families.
I just want to continue to pursue dancing. I want to focus on making it out there and showing everybody my heart and soul through dance... and do it until I can't walk anymore.
The blank space can be humbling. But I've faced it my whole professional life. It's my job. It's also my calling. Bottom line: Filling this empty space constitutes my identity.
I've been singing all my life. I've always wanted this. I sang in church, in school plays, and my parents gave me vocal lessons. My parents always said this was destined for me.
Bob Fosse and Gwen Verdon intimidated us all because she walked in and was going to be the dance captain. She was a great star, but she loved that kind of work as his assistant.
Recently I heard a 'wise guy' story that I had a party at my home for twenty-five men. It's an interesting story, but I don't know twenty-five men I'd want to invite ta a party.
A busy person is usually the most efficient because they know how to manage their time. That's something I learned through dancing all through school and all throughout my life.
No artist is well served in thinking what will happen to their works. The best one can hope is that they'll enter the mainstream, and people will pull bits and pieces from them.
After so many years, I've learned that being creative is a full-time job with its own daily patterns. That's why writers, for example, like to establish routines for themselves.
I have no desire to prove anything by dancing. I have never used it as an outlet or a means of expressing myself. I just dance. I just put my feet in the air and move them around.
When it comes to acting, you really have to create movement which in some ways is dancing. And dancing, I feel is very important to act as well. I wouldn't put one over the other.
Reading, conversation, environment, culture, heroes, mentors, nature – all are lottery tickets for creativity. Scratch away at them and you’ll find out how big a prize you’ve won.
Creativity requires quite a lot of faith - not just in yourself but also in the knowledge that you have the right to proceed, even when you may not know exactly what you're doing.
Creativity is a habit, and the best creativity is a result of good work habits. That's it in a nutshell ... In order to be creative you have to know how to prepare to be creative.
Nobody likes to see that which they've invested in disappear from the face of the earth before they've even died. This is not cool. We can now see what the landmarks, in fact are.
A dancer, if she is great, can give to the people something that they can carry with them forever. They can never forget it, and it has changed them, though they may never know it.
Box-office poison? Mr. Louis B. Mayer always asserted that the studio had built Stage 22, Stage 24 and the Irving Thalberg Building, brick by brick, from the income on my pictures.
It's a real gift to have a husband and wife in the company that love each other and that work together. They check on each other emotionally and physically. That's beautiful to me.
I really want to keep modelling, but it's not my number one goal in life. But it's so fun. I love doing it; it's just that - it's not like I just want to be a model when I'm older.
I use the computer as a tool. Like chance or the camera or the other tools I've used, it can open my eye to other ways of seeing or of making dances. It's not simply to do a trick.
I work because I have issues and questions and feelings and thoughts that I want to have a look at. I'm not in need of, or wanting, particularly, to know what other folk are up to.
The necessity to constantly turn in an excellent performance, to be absolutely wedded to this dedication and this ideal means that as a child you're going to pay for it personally.
I want people to have their own visions for the dance. Some generations will sit back and relate to the music. And the young people ...they'll have the dance right in front of them.