American - Dancer | July 1, 1941 -
It's very difficult for me to do fund raising for my own organization if I'm working for other companies because sponsors will say, 'Well, hey, man, if she's doing a ballet for Ballet Theatre, we'll give money to Ballet Theatre.'
Twyla Tharp
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I find that dancers are only well trained in ballet these days.
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I've read probably 25 or 30 books by Balzac, all of Tolstoy - the novels and letters - and all of Dickens. I learned my craft from these guys.
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I think Tolstoy had an unbelievably complicated relationship with women.
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Balzac loved courtesans. They were independent women, and in the 19th century, that was a breed that was just evolving.
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I have a sort of tactility about music. I go into record stores and just run my fingers over it, the spines.
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Let me put it this way: I would like to direct a successful film. An unsuccessful film I would not like to direct. Films are very difficult.
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To make real change, you have to be well anchored - not only in the belief that it can be done, but also in some pretty real ways about who you are and what you can do.
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When I started making dances in the '60s, narrative dance was sort of off the radar screen. What was important at the time in the avant-garde was minimalism.
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I grew up in a drive-in theater, from the time I was 8, working in a snack bar watching four features every week. It was silent theater in the sense that this was a drive-in, which meant that I often saw the films going with no sound. But I learned to tell stories through action.
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There is obviously a power and a truth in action that doesn't lie, which words easily can do.
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There are very few critics who have historical context or authority.
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