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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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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 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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'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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I'm a known reader. That's what I do with my time.
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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 think that anyone who's pushed to do the very best that they can is privileged. It's a luxury.
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In circuses, there is a lot of magic. Things become other things.
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It was not until I had graduated from college that I made a professional commitment to it. Frankly, I didn't think it wise. I was my own interior parental force, and it's very difficult to justify a profession as a dancer.
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Everything present is included in the past somewhere; nobody's present pops out of nowhere.
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To make real change, you have to be well anchored - not only in the belief that it can be done, but also in some pretty real ways about who you are and what you can do.
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A lot of people insisted on a wall between modern dance and ballet. I'm beginning to think that walls are very unhealthy things.
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Optimism with some experience behind it is much more energizing than plain old experience with a certain degree of cynicism.
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I find the aesthetics of the 20th century hopelessly barren.
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Who a dancer is physically feeds into character for me. Always has.
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Counterpoint is a component that gives real energy, and it is about optimism.
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Dance has never been a particularly easy life, and everybody knows that.
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I find that dancers are only well trained in ballet these days.
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Walt Disney was a master of the human psychology. His sense of timing, sense of speed. In a sense, those cartoons are like Rorschach tests.
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In dreams, anything can be anything, and everybody can do. We can fly, we can turn upside down, we can transform into anything.
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I do not watch television, never have.
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I've always felt compelled to explore range, because, as far as I know, we're only here once. So let's see how much we can encompass.
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I've always believed that a dance evening energizes an audience, that an audience goes out feeling chemically stronger and more optimistic. This is what I understand about dance. And this is an important thing. We need this. Our culture needs it.
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The only way to know the truth of a movement is to do it on your own body.