Twyla Tharp Quotes
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We don't need to illustrate music; music illustrates itself.
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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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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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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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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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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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Ultimately there is no such thing as failure. There are lessons learned in different ways.
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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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Kids should be encouraged to compete.
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I've survived inattention. I hope to God I survive attention.
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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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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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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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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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'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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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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What we want from modern dance is courage and audacity.
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In circuses, there is a lot of magic. Things become other things.
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I have the wherewithal to challenge myself for my entire life. That's a great gift.
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I would have to challenge the term, modern dance. I don't really use that term in relation to my work. I simply think of it as dancing. I think of it as moving.
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I thought I had to make an impact on history. I had to become the greatest choreographer of my time. That was my mission. Posterity deals with us however it sees fit. But I gave it 20 years of my best shot.
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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.