I have always been too round to do fashion shows.
Falling is one of the ways of moving.
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 fleeting moment when you feel alive. It is not for unsteady souls.
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.
The most essential thing in dance discipline is devotion, the steadfast and willing devotion to the labor that makes the classwork not a gymnastic hour and a half, or at the lowest level, a daily drudgery, but a devotion that allows the classroom discipline to become moments of dancing too.
The only way to do it is to do it.
I'm not expressing anything. I'm presenting people moving.
Proof is boring. Proof is tiresome. Proof is an irrelevance. People would far rather be handed an easy lie than search for a difficult truth, especially if it suits their own purposes.
I learned a long time ago that reality was much weirder than anyone's imagination.
The person who writes for fools is always sure of a large audience.
It's easy for people to say stuff when they don't know the full story.