I'm a known reader. That's what I do with my time.
My mother was a dominant force in my life. She had a very specific idea about education, which was: you should know everything about everything. It was quite simple. There was no exclusivity, and there really was no judgment, which is a good thing for someone who still thinks of themselves as a very basic American.
In those days, male dancers were a rarer breed than women. as they are still today, A good male dancer, one as strong as we were, was very difficult to come by if you couldn't afford to pay them.
The necessity to constantly turn in an excellent performance, to be absolutely wedded to this dedication and this ideal means that as a child you're going to pay for it personally.
I started formal piano training when I was 4. From there I had little violas, and I had dancing lessons of every sort and description, and painting lessons. I had German. And shorthand.
I've survived inattention. I hope to God I survive attention.
Limits are a secret blessing, and bounty can be a curse.
There's this expression called postmodernism, which is kind of silly, and destroys a perfectly good word called modern, which now no longer means anything.
I don't think that scheduling is uncreative. I think that structure is required for creativity.
I walk into a large white room. It's a dance studio in midtown Manhattan. The room is clean, virtually spotless if you don’t count the thousands of skid marks and footprints left there by dancers rehearsing. Other than the mirrors, the boom box, the skid marks, and me, the room is empty.
In the end all collaborations are love stories.
This is the hard part. Knowing and admitting a problem are not the same as solving it. But executing a solution is also the fun part, because the solution save you and gets you moving again.
There is obviously a power and a truth in action that doesn't lie, which words easily can do.
The formal education that I received made little sense to me.
if you want to create art, you'd best have a deep belief in yourself and no ulterior motives.
There are so few people who can really take hold of art and sort of eat and chew it up. Somehow it's got to be held special, sacred in a corner, and if you don't do the same thing with it, if you're not equally reverential, serious, and pompous about it, well, then you're not a great artist. Who needs that?
My greatest fear in working is always the end. Lately I have taken to tricking myself into finishing by leaving a hole in the middle somewhere, then stitching the two pieces together - the Union Pacific approach.
Alone is a fact, a condition where no one else is around. Lonely is how you feel about that.
Any comic is a tragic soul. Comedy is one of the things that allows one to survive. Particularly if one has been in the process of separating off the emotions, it's one place you can process them.
The disasteris not the money, although the money will be missed. The disaster is the disrespect--this belief that the arts are dispensable, that they're not critical to a culture's existence.
Every dance I make is a dive into this well of ancient memory.
In the not-for-profit world, there can be wastefulness because there's not the desperate urgency of when you're on a clock.
The great ones never take fundamentals for granted.
I began ear training when I was about six months old. My mother was a concert pianist, and she started all of her children with music before they were a year old. Then she began to see that I had a musical gift...
I understand things that are American, for better or worse.
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