If you feel depressed you shouldn't go out on the street because it will show on your face and you'll give it to others. Misery is a communicable disease.
'Age' is the acceptance of a term of years. But maturity is the glory of years.
If I can't dance, I don't care if my dances are ever done again!
All things I do are in every woman. Every woman is Medea. Every woman is Jocasta. There comes a time when a woman is a mother to her husband. Clytemnestra is every woman when she kills.
There is fatigue so great that the body cries, even in its sleep.
You have no right to go before a public without an adequate technique, just because you feel. Anything feels - a leaf feels, a storm feels - what right have you to do that? You have to have speech, and it's a cultivated speech.
Fire is the test of gold; adversity, of strong men.
The body is a sacred garment.
You see, when weaving a blanket, an Indian woman leaves a flaw in the weaving of that blanket to let the soul out.
The gesture is the thing truly expressive of the individual - as we think so will we act.
The next time you look into the mirror, just look at the way the ears rest next to the head; look at the way the hairline grows; think of all the little bones in your wrist. It is a miracle. And the dance is a celebration of that miracle.
...Although, as the Latin verb to educate, educate, indicates, it is not a question of putting something in but drawing it out, if it is there to begin with...I want all of my students and all of my dancers to be aware of the poignancy of life at that moment. I would like to feel that I had, in some way, given them the gift of themselves.
It's not my job to look beautiful. It's my job to look interesting.
It takes ten years, usually, to make a dancer. It takes ten years of handling the instrument, handling the material with which you are dealing, for you to know it completely.
Dancers have more bones than most people and on the days when you work hard you are sure that you have somehow accumulated more bones than you started with.
A dancer must listen to his body and pay homage to it. Behind the movement lies this terrible, driving passion, this necessity. I won't settle for anything less.
The body is shaped, disciplined, honored, and in time, trusted.
I'm asked so often whether I believe in life after death. I do believe in the sanctity of life, the continuity of life and of energy. I know the anonymity of death has no appeal for me. It is the now that I must face and want to face.
Dancing is just discovery, discovery, discovery - what it all means, the way the little bone near the ankle relates itself to the floor for a perfect stance, a perfect plie.
We look at the dance to impart the sensation of living in an affirmation of life, to energize the spectator into keener awareness of the vigor, the mystery, the humor, the variety, and the wonder of life. This is the function of the American dance.
I did not want to be a tree, a flower or a wave. In a dancer's body, we as audience must see ourselves, not the imitated behavior of everyday actions, not the phenomenon of nature, not exotic creatures from another planet, but something of the miracle that is a human being.
Dancing is a very living art. It is essentially of the moment, although a very old art. A dancer's art is lived while he is dancing. Nothing is left of his art except the pictures and the memories--when his dancing days are over.
In a dancer, there is a reverence for such forgotten things as the miracle of the small beautiful bones and their delicate strength.
To me, this acquirement of nervous, physical, and emotional concentration is the one element possessed to the highest degree by the truly great dancers of the world. Its acquirement is the result of discipline, of energy in the deep sense. That is why there are so few great dancers.
Dancers today can do anything; the technique is phenomenal. The passion and the meaning to their movement can be another thing.
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