Culture in America and everywhere else comes from the suffering, from those who don't want the old ways. They want to bring in the new, whether it's the ballet, when it started, or Shakespeare.
I need a big wave to really excel. The smaller stuff is a bit like...ballet for me.
I've been trained in dancing and I used to be quite good, though I am a bit rusty right now. But I could probably brush up in a couple of months. The funny thing is that I actually took classes from Savion Glover, who worked in Happy Feet, when I was a kid. Isn't that wild? I was part of a selected group that was brought into New York from New Jersey (which is where I'm from) to study, every Saturday: ballet, jazz and tap. It was a musical comedy group.
The best physique I ever had was when I was ballet dancing.
I began with dance, doing ballet at 3, then tap, jazz, modern. Then I sang in church choirs, learned how to play clarinet and drums, sang with rock bands and only then did I get into musical theatre.
I don't want people who want to dance; I want people who have to dance.
I will say a lot of dancers do such beautiful things for their body and then they smoke a cigarette. I've never been a smoker, but I realized after taking yoga . . . in ballet you're not encouraged to do a lot of breathing. I think in a weird way, a lot of dancers find relief in actually breathing.
I attended Professional Children's School in Manhattan because my ballet and modern dance schedules were intensive and had started to interfere with regular school hours.
Spectacular sporting events are bread & circuses. The Superbowl, for instance, is anything but "super". It is a Petri dish under the lens of mediaocrity, where surveillance of the spectators is just as mind numbing as the incomprehensible homo-erotic beefcake ballet being enacted on the pitch
I had danced with Janet Jackson and P. Diddy so I had done a bunch of hip hop. Really and truly my roots are in modern and ballet but, professionally, that's not really out there any more, unfortunately, so these artists aren't really having a lot of ballet dancers behind them so I had to learn hip hop really quick.
Anyone interested in design must be interested in other fields of expression - theater, ballet, photography, literature, music.
When I was a child, I went to stage school three times a week in the evenings - singing, ballet, tap, modern and acting, and I loved it.
I didn't speak a single word of English when I was told that I was one of the lucky students been selected to go to study at the Houston Ballet Academy. I knew I had to study hard in every aspect, in both language and dance, which I did. I put my whole heart and soul into each minute of my day while in America and what an experience those six weeks gave me.
Dancing is a sweat job.
Although we do come from a silent profession, it is important for us to verbalize what we want to say. (As I tell my students): you could love someone all your life, but if you never say it how are they going to know? There comes a point when you have to say what you mean, which makes you scream louder when you dance.
Few people are capable of expressing with equanimity opinions which differ from the prejudices of their social environment. Most people are even incapable of forming such opinions.
Some Russian ballet master woman said there's no culture in America, but if you look you can find interesting stuff in this country, don't you think?
Dancing is the poetry of the foot.
I was the oldest of the children in my family. I had to do a lot of diaper-changing and lunch-making. I was taking my little sister to ballet, picking up my brother, sort of being a super-nanny.
It is not a question of who dances but of who or what does not dance.
Dancers are a great breed of people. And they really want to dance so you don't have to beg them to work. However, dancers sometimes build walls around themselves because they are presenting themselves all the time: dancing is very much a confession.
I think it was important that I learned to love to dance eventually for its own sake, as opposed to wanting to be a ballerina.
I was very happy that I was as normal as possible before I went into serious dance.
Minor things can become moments of great revelation when encountered for the first time.
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.
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