Life is about moving, itβs about change. And when things stop doing that theyβre dead.
Reading, conversation, environment, culture, heroes, mentors, nature β all are lottery tickets for creativity. Scratch away at them and youβll find out how big a prize youβve won.
The artist doesn't really think about consequences - he or she does the work, stands back and looks at and thinks, 'Hmm, that could have worked better like this.' But as a person who needs to sell tickets to do the next work, one needs to analyze how it does or does not hit its mark.
To make real change, you have to be well anchored - not only in the belief that it can be done, but also in some pretty real ways about who you are and what you can do.
Schubert had arguably the same melodic gift as Mozart, but even less support. He didn't have the early exposure, never got to travel anywhere, and yet generated and amassed a body of work that grew and developed and is very profound.
Dance is the most fundamental of all art forms.
Dance should not just divide people into audience and performers. Everyone should be a participant, whether going to classes or attending special events or rehearsals.
What we want from modern dance is courage and audacity.
When I started making dances in the '60s, narrative dance was sort of off the radar screen. What was important at the time in the avant-garde was minimalism.
When I was a kid, the avant-garde to me was boring because it was just the flip side of being really successful.
These days, I think we could all agree that having a just-friend is not a bad thing.
There's the tradition of the 19th-century ballets, and the 20th century has had a difficult time with that tradition. And it's had a difficult time with many components of the Romantic imagination because of modernism.
I find the aesthetics of the 20th century hopelessly barren.
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.
It's always a problem, getting the curtain in at the end of the first act; having enough of a resolve so that you can bring the curtain in and then opening the show a second time is a little bizarre as a tradition. I've always preferred to go straight through.
I don't think politicians should be allowed into power who are not familiar with their bodies, because that's where our bottom line is. And I know that they would make totally different decisions if they felt responsible simply for their own bodies.
In those days, male dancers were a rarer breed than women. as they are still today, A good male dancer, one as strong as we were, was very difficult to come by if you couldn't afford to pay them.
Balzac loved courtesans. They were independent women, and in the 19th century, that was a breed that was just evolving.
Broadway has some very tight expectations as to what a show is.
You can only generate ideas when you put pencil to paper, brush to canvas... when you actually do something physical.
