Tough guys don't dance. You had better believe it.
Whosoever knoweth the power of the dance, dwelleth in God.
I explained it when I danced it.
Long experience has taught me that the crux of my fortunes is whether I can radiate good will toward my audience. There is only one way to do it and that is to feel it. You can fool the eyes and minds of the audience, but you cannot fool their hearts.
If I can not dance, I shall die!
Freedom to a dancer means discipline. That is what technique is for -- liberation.
Where there is no heart there is no art.
Even the ears must dance.
Dance every performance as if it were your last.
I have performed for thousands when they found me exotic, the vogue, daring, but I have danced, at any given time, for about ten people... They were the ones that left the theater forever different from the way they were when they came in. All of my long, long life, I have danced for those ten.
Every day I count wasted in which there has been no dancing.
When you are on stage you are having an affair with three thousand people.
There's no thinking involved in my choreography... I don't work through images or ideas. I work through the body... If the dancer dances, which is not the same as having theories about dancing or wishing to dance or trying to dance, everything is there. When I dance, it means: this is what I am doing.
It's what I always wanted to do, to show the laughter, the fun, the joy of dance.
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.
Dancing appears glamorous, easy, delightful. But the path to paradise of the achievement is not easier than any other. There is fatigue so great that the body cries, even in its sleep. There are times of complete frustration, there are daily small deaths.
Master technique and then forget about it and be natural.
Fine dancing, I believe like virtue, must be its own reward. Those who are standing by are usually thinking of something very different.
The mirror is not you. The mirror is you looking at yourself.
There are likewise three kinds of dancers: first, those who consider dancing as a sort of gymnastic drill, made up of impersonal and graceful arabesques; second, those who, by concentrating their minds, lead the body into the rhythm of a desired emotion, expressing a remembered feeling or experience. And finally, there are those who convert the body into a luminous fluidity, surrendering it to the inspiration of the soul.
Dancers today can do anything; the technique is phenomenal. The passion and the meaning to their movement can be another thing.
Dance for yourself. If someone else understands, good. If not, no matter. Go right on doing what interests you, and do it until it stops interesting you.
Dance is an art that imprints on the soul. It is with you every moment, it expresses itself in everything you do.
Then come the lights shining on you from above. You are a performer. You forget all you learned, the process of technique, the fear, the pain, you even forget who you are you become one with the music, the lights, indeed one with the dance.
The Marquesan girls dance all over; not only do their feet dance, but their arms, hands, fingers, ay, their very eyes seem to dance in their heads.
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