Twyla Tharp Quotes
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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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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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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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I had always seen myself as a star; I wanted to be a galaxy.
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I am still pushing the edge of what my body can do.
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Kids should be encouraged to compete.
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We don't need to illustrate music; music illustrates itself.
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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 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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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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There is a moral dimension, for me, in anything that's any good.
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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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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 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 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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The only thing I fear more than change is no change. The business of being static makes me nuts.
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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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What we want from modern dance is courage and audacity.
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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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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.
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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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The ballet needs to tell its own story in such a way it can be received without having to be translated into language.
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I have the wherewithal to challenge myself for my entire life. That's a great gift.