Twyla Tharp Quotes
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Kids should be encouraged to compete.
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When I was a kid, the avant-garde to me was boring because it was just the flip side of being really successful.
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Nothing is more terrifying to me, really, than the status quo. I'll make mistakes before I keep doing something the same way.
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Ultimately there is no such thing as failure. There are lessons learned in different ways.
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There is a moral dimension, for me, in anything that's any good.
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We don't need to illustrate music; music illustrates itself.
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People often say to me, 'I don't know anything about dance.' I say, 'Stop. You got up this morning, and you're walking. You are an expert.'
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Let me put it this way: I would like to direct a successful film. An unsuccessful film I would not like to direct. Films are very difficult.
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In terms of individuals who actually inspired me, very few of the academic people that I had access to had that power over me. Maybe it's simply because I wasn't that committed to geometry.
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The only thing I fear more than change is no change. The business of being static makes me nuts.
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When I look at the people who are the guiding figures in modern dance, I think, 'This does not look to me like the way I want to spend my days.'
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Proust writes, he remembers, physically. He depends on his body to give him the information that will bring him to the past. His book is called 'In Search of Lost Time,' and he does it through the senses. He does it through smell. He does it through feeling. He does it through texture. It is all physically driven, that language.
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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.
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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.
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These days, I think we could all agree that having a just-friend is not a bad thing.
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What we want from modern dance is courage and audacity.
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I have not wanted to intimidate audiences. I have not wanted my dancing to be an elitist form. That doesn't mean I haven't wanted it to be excellent.
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'Bum's Rush' is a piece about timing, and everything that's in the piece needs to be with the piece. If people are missing, or marking, or unable to use their voices, the impulses that prompt the action are lost, and its logic crumbles.
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What I do remember is visualization of the sound of music, seeing bodies in movement in relation to how music sounded, because my mother practiced at the keyboard a lot and I also went to her lessons. As a two year old, three year old I remember seeing things in movement.
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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.
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It's very difficult for me to do fund raising for my own organization if I'm working for other companies because sponsors will say, 'Well, hey, man, if she's doing a ballet for Ballet Theatre, we'll give money to Ballet Theatre.'
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I have the wherewithal to challenge myself for my entire life. That's a great gift.
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Who a dancer is physically feeds into character for me. Always has.
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Creativity is not just for artists. It's for businesspeople looking for a new way to close a sale; it's for engineers trying to solve a problem; it's for parents who want their children to see the world in more than one way.