Politics is traditionally a male domain in Russia.
I no longer need to have what I see as the surface of the dance so connected to the underlying structure.
I use geometric and mathematical ideas to organize material, but those are tools. The purpose of the work is not to expose that at all, but to arrive at some kind of expressiveness.
If the simple positions of ballet are demonstrated straight on, they seem quite dull and lifeless, but when put on a diagonal, they begin to take on all kinds of possibilities.
"Light Over Water" is the longest piece I have ever composed. It is a landmark in my personal struggle to create large forms. I feel that it is by and large a formally successful work, though I was constrained to write a piece at least fifty minutes long, and there are some dead spots in the music where I think I was simply marking time. However, I think when the dance is in motion, the formal problem is nonexistent.
The diagonal gives a three-dimensional feeling to dancers that cannot be achieved when they are only front and back. On the diagonal, more movement is automatically visible.
I think dancing is an emotional experience.
I want to be involved with young people in some way. Teenagers. Because that's the most vulnerable time. I have a fantasy of becoming a teacher one day.
Each of my novels features a protagonist undertaking a difficult personal journey. On the way, each of these characters - mostly female - discovers something about herself and at the same time makes an impact on other people's lives.
What did it feel like, I wondered, to love someone that much? So much that you couldn't even control yourself when they came close, as if you might just break free of whatever was holding you and throw yourself at them with enough force to easily overwhelm you both.
One thing I feel is this: that a great deal of poetry is the product of adolescence-or of an emotionally adolescent frame of mind: and that as this state of mind changes, poetry is likely to dry up.