When we give ourselves over completely to the spirit of the dance, it becomes a prayer
Sabine gestured to him with the half-eaten crust. "I like him. Not sure why he's wasting his time with the pole dancer, though." Tod laughed out loud and I groaned. "Sophie takes ballet and jazz. She's not a pole dancer." "There's more money in pole dancing," Sabine insisted.
When you are dancing with your partner, for that two and a half minutes, you are in love with each other. You're corresponding with each other by the moves that you make. It's a love affair, between you and your partner and the music. You feel the music, you feel your partner, she feels you and she feels the music. So there the three of you are together. You've got a triangle, you know. Which one do you love best?
The dancer, or dancers, must transform the stage for the audience as well as for themselves into an autonomous, complete, virtual realm, and all motions into a play of visible forces in unbroken, virtual time...Both space and time, as perceptible factors, disappear almost entirely in the dance illusion.
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.
Dance is the only art of which we ourselves are the stuff of which it is made.
Dance is your pulse, your heartbeat, your breathing. It's the rhythm of your life. It's the expression in time and movement,in happiness, joy, sadness and envy.
People come to see beauty, and I dance to give it to them.
Do you know what I've learned? That although ecstasy is the ability to stand outside yourself, dance is a way of rising up into space, of discovering new dimensions while still remaining in touch with your body. When you dance, the spiritual world and the real world manage to coexist quite happily. I think classical ballet dancers dance on pointe because they're simultaneously touching the earth and reaching up to the skies.
Don't you think you're quite young?' 'I'm twenty-one,' said Brida. 'If I wanted to start learning ballet, I'd be conseidered too old.
I think the key is for women not to set any limits.
If I had listened to the critics I'd have died drunk in the gutter
I think Balanchine and Robbins talk to God and when I call, he's out to lunch.
Dance is like wine; it matures with every performance.
Dancing is like dreaming with your feet!
I see dance being used as communication between body and soul, to express what it too deep to find for words.
Dance till the stars come down from the rafters Dance, Dance, Dance 'till you drop.
The dance is a poem of which each movement is a word.
There are shortcuts to happiness, and dancing is one of them.
The dance, just as the performance of the actor, is kinesthetic art, art of the muscle sense. The awareness of tension and relaxation within his own body, the sense of balance that distinguishes the proud stability of the vertical from the risky adventures of thrusting and falling--these are the tools of the dancer.
If one had to define one essential gift with which a dancer needs to be endowed, there might be a rush of answers. A beautiful body, grace of line, graciousness of spirit, joy in the work, ability to please, unswerving integrity, relentless ambition towards some abstract perfection. Certainly all these factors determine a dancer's character, and every element exists in some combination within the performing artist's presence.
So many dancers rely on some sort of magic happening on the stage. They never, for various reasons, work full out in rehearsal. That's very uncreative. They don't discover the kinds of things that add up to a remarkable performance.
The choreographic process is exhausting. It happens on one's feet after hours of work, and the energy required is roughly the equivalent of writing a novel and winning a tennis match simultaneously.
Will you, won't you, will you, won't you, will you join the dance?
There comes a moment in a young artist's life when he knows he has to bring something to the stage from within himself. He has to put in something in order to be able to take something.
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