One thing about skating that I don't think people focus on enough is the music factor. The music is a huge component of figure skating. It can dictate not only the choreography but the emotion. If it's not the right music it can ruin a performance.
I am interested in the complicated choreography of close relationships.
I don't want people to think about one common thing. Coda is non-discursive, just like choreography for the stage. So each audience member's thoughts about it, or better yet, their feelings, will be different. Moreover, images contain so much information that one can see things that the next person won't notice. As a result, people will surely think about Coda in dissimilar ways.
You are not a female or a male - you are a dancer. And when I started going into choreography I became part of a team of people making movies. I wasn't a woman choreographer. I was a choreographer.
One time, the homie Venus[-X] read me; we were on the phone and she was like, "Girl, you keep wearing jeans and t-shirts at your shows, but the music doesn't give that." I was like, "You're right, I need to be the person that I am at school, making dance and choreography. I should think about the whole performance." That's when I put the 1 in my name and started dressing for the occasion.
I can always invent movement, and sometimes it can be fitted into the right place, but that is not choreography. It is the music that dictates the whole shape of the work. I do not believe in the permanence of anything in ballet save the purely classical.
When working on my choreography I am not always receptive to outside suggestions or opinions. I believe that if you have something in mind in the way of a creation, such as a new dance, a sequence, or an effect, you are certain to come up with inaccurate criticism and damaging results if you go around asking for opinions.
I'm not retired, I will continue directing films and doing fight choreography. I won't stop.
When preparing for the fight choreography, the first thing I have to think about is what fits in the script. Whatever goes along with the story line and the character's personality; they have to be matched.
speaking with, uh, about the vocal choreography, one of the first groups that I worked with was a group called the Cadillacs, which was uh, an exceptionally talented group. They all moved well and they sort of established Cholly Atkins's style. In other words they basically put me on the map, and everybody would look at them and see their choreography and they wanted to know who did it, so they would tell them.
In vocal choreography you had to give a lot of consideration to the fact that you were working with singers and not dancers. But you had to make singers look like they were dancers, and to make the movements as natural as possible, and there to be an association with the movement, uh, somewhat to what the lyric was saying.
I learnt a lot from my Broadway experience, it was one of the most challenging things I will probably ever have to do in my entire life, because it was eight shows a week - live singing with really hard choreography - and the spontaneity, you don't know what's going to happen.
I am absolutely desperate to do an action movie. And not to blow my own trumpet or anything, but I actually think I'm good at it. I did it all. I was really into the routines and the choreography. I used to dance when I was younger, and so I think that came in handy.
I'm not going to say it's easy, but I do have an ease with picking up fight choreography because of my dance training.
I realize that once I stopped fighting the technical process of how to move my body, I made it choreography.
Sometimes I go and I'll look at people's comments and then responses, covers, choreography and fan videos and after a couple hours it's like, uhhh this is a little like...I'm like don't indulge in right now.
The planet isn't improvising, it's creating dynamic tensions between complex living systems in a planetary choreography, a balancing act between physical, chemical, biological, environmental, and human components.
If I hear an amazing piece of music, I can't help but think of ideas, choreography, and everything that comes along with it.
Chaos comes before all principles of order & entropy, it's neither a god nor a maggot, its idiotic desires encompass & define every possible choreography, all meaningless aethers & phlogistons: its masks are crystallizations of its own facelessness, like clouds.
We had the skirts with the slits up the side, sort of tough, sort of Spanish Harlem cool, but sweet too.
And Toronto's own Sergio Trujillo has redone his choreography totally, showing all the comical invention that we know he's capable of.
Even if you perform with a great choreography, or a part of a great group, I believe you can’t imitate people’s aura.
No one has their own identity like the Ronettes did back in the day.
It's so tiring. Even though I've worn heels and performed the choreography for four years now, I'm still not used to it. When will I be used to it? In 10 years? In 20 years?
I was in a play directed by my father, and I was doing a fight scene, and the choreography went haywire, and I flew backward over a chair and ripped my thumb all the way to my wrist and had to have surgery to sew up all the tendons in there.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: