I've always been just as interested in making people think as I am in making them feel, and one of the things this scientific process allows me to do is make the audience look differently at dance.
We can't all be like Ryan Seacrest... the perfect platform manifestation of a human. I don't know if we all have those gifts for restraining our emotions... or whatever it is he does.
I am a realist as well as an idealist, and I think that it is incumbent upon those of us in opposition to try to work within what are always arduous circumstances to stretch the limits of the possible.
I used to have more tolerance for these views, but I am losing patience with what I see. The test of anything is the fruit it bears. I see no good fruit being born.
I think they assign things to students which are way over their heads, which destroy your love of reading, rather than leading you to it. I don't understand that. Gosh.
I danced frightening things. They were frightened of me and therefore thought that I wanted to kill them. I did not want to kill anyone. I loved everyone, but no one loved me, and therefore I became nervous.
Look out!! Ha! Now you've done it! Now you've broken a lamp, and you've got no one to blame it on but yourself!" "Maybe I could blame it on society!
I love Monet: his 'Water Lilies' would look great on my wall. But would I prefer to see money helping kids get better from cancer rather than spending it on a work of art for my own personal indulgence? Yes, I probably would.
There was an exhibition in Munich in 1937, 'Degenerate Art,' which included work by Klee, Kandinsky, Beckmann and many others. The work was called 'sick' and put in the trash heap. The sentiments expressed toward contemporary art by Jesse Helms, Pat ...
I'm interested in exploring the places where all media meet. As TV, Internet, art, games and movies all start moving towards the same point, I want to be part of inventing that space. I'd like to explore media that are traditionally seen as part of t...
The words went round and round and round in my mind and my body, until I knew they were no longer my words but something that had been carved into my heart. And now my soul was crying.
A made desire to be more human, to be more normal, that's what pushes me, these days - but as someone said the other say. 'Trace, you're going to have to face facts. You and normal parted a lomg, long time ago.
Oh fer Christ's bloody sake Martha I didna' raise ye to be well regarded. To be liked. Any puny weak-waisted slut can be liked. I raised ye to be reckoned with.
Martha: Oh, I like your anger. I think that's what I like about you most. Your anger.
When I am in New York, you know, my studio is big, about 20,000 to 25,000 square feet, and I have painting rooms and rooms I do etching in, rooms I do lithographs.
I've been drawing authors and politicians for newspapers for many years. I try to read up on the person; in the case of authors, read one of their books. I watch interviews via YouTube and collect pictures via the Internet.
I know I'm supposed to say ageing doesn't bother me, then suddenly you're like, 'Yeah, I care about it, I really worry about it. I'm getting old. I'm old!'
Sure, I've had some bad times, but everybody does. But people don't get to talk about them like I do, unless they do to a therapist. People don't get to put them in the paper like I do.
I'm beginning to see that just knowing the piece is not enough. Having a clear technique is not enough. Having a broad repertory is not enough. I want desperately to get past all those things.
It's one of my strongest dance pieces - having just done Play Without Words which was veering away from a lot of dance - I thought it would be nice to go back to something with almost the most dance I'd done.
You have to love dancing to stick to it. It gives you nothing back, no manuscripts to store away, no paintings to show on walls and maybe hang in museums, no poems to be printed and sold, nothing but that single fleeting moment when you feel alive.
