I never studied with Balanchine, but his work was very important to me.
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.
This is not a pleasant route for many young people to consider. You have to be either hopelessly passionate, or very stupid.
I can't emphasize this idea enough. Getting involved with your collaborator's problems almost always distracts you from your own. That can be tempting. That can be a relief. But it usually leads to disaster.
when dancing is right, the movement possesss a logic common to us all, an inevitability that takes it beyond the personal and egocentric and makes of it classical art.
I was privileged to be able to study a year with Martha Graham, the last year she was teaching.
It's very difficult to justify a profession as a dancer.
Never worry that rote exercises aimed at developing skills will suffocate creativity. At the same time, it's important to recognize that demonstrating great technique is not the same as being creative.
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