American - Dancer | July 1, 1941 -
It's always a problem, getting the curtain in at the end of the first act; having enough of a resolve so that you can bring the curtain in and then opening the show a second time is a little bizarre as a tradition. I've always preferred to go straight through.
Twyla Tharp
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I do at least 75 push-ups a day.
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Proust writes, he remembers, physically. He depends on his body to give him the information that will bring him to the past. His book is called 'In Search of Lost Time,' and he does it through the senses. He does it through smell. He does it through feeling. He does it through texture. It is all physically driven, that language.
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Nothing is more terrifying to me, really, than the status quo. I'll make mistakes before I keep doing something the same way.
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A dancer's life is all about repetition.
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You either entertain an audience or you don't.
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Unfortunately, I think we've probably all had the experience that if we're in a relationship where one of the partners is doing it 'my' way, that relationship is not going to survive.
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At the ballet classes I took when I first came to New York, I would see great dancers like Cynthia Gregory and Lupe Serrano. I would look at them and study what they could do, and what I couldn't do. And then I'd think maybe they should try what I could do.
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I realize that dancers have worked long and hard for standards. However, on occasion, I think that it's good to examine one's heart and ask why are we dancing.
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I'm not interested in seeing dance die. It's not to my advantage. Nor is it to our culture's advantage or anybody else's.
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My favorite audience is everybody. I worked in a drive-in theater from the time I was 8 years old until I went to college, and I'm accustomed to everybody can buy a ticket and everybody should be taken into account.
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Critics should be looked at simply as commentators.
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