Interpretive Dance Quotes

Who is Mike Judge? Let me think. The only way I could possibly answer that question would be in a nonverbal fashion. I think I could do an interpretive dance that would answer that question for you.

I can always invent movement, and sometimes it can be fitted into the right place, but that is not choreography. It is the music that dictates the whole shape of the work. I do not believe in the permanence of anything in ballet save the purely classical.

Ah, if you could dance all that you've just said, then I'd understand.

I am more expressive when I dance.

Being on stage is not creating, it's re-creating.

I just know that when I go onstage, I give everything I have, not only my feet, not only my legs, not only my body. I try to tell a story. Sometimes I am able to cry because I feel like it. Sometimes I am able to love because I feel like it.

I want people to have their own visions for the dance. Some generations will sit back and relate to the music. And the young people ...they'll have the dance right in front of them.

Dance is your pulse, your heartbeat, your breathing. It's the rhythym of your life.

Pina Bausch's motto was "Dance, otherwise we are lost." She really meant it, that dance was her answer to life and to the troubles and to the problems that can arise. That was her way to deal with everything, to dance.

I was always a show-off with my friends; we used to have interpretive dance nights to Christina Milian and Sean Paul where we'd film it.

But remember that intent is everything. One does not just jump, one lifts into the air, one rises. In the same way the lifted leg of an arabesque becomes a wing, and not a mechanical leverage like a raised trap door. This is the precise difference between dancing and acrobatics. The dancer tries to express something; the acrobat merely pulls, raises, stretches and grinds. The acrobat is lost in a web of muscles the dancer is all but invisible in projected idea.

Dancing is like - it's another way of communicating, no?

I worked with dance a lot, for each character - different ways I could move my body, different music. It's the most fun thing in the world, because I love each and every one of the characters and I'd be happy just to play one of them, but the fact that I get to play upwards of six, seven, eight or whatever, it's a total dream.

Ballet is a riddle of means and ends.

I know what I think but I don't know how to put it into words. Maybe I could get a little bit drunk and dance it for you.

My boyfriend asked me to tell a story without my hands, and I couldn't talk.

I explained it when I danced it.

The ballet needs to tell its own story in such a way it can be received without having to be translated into language.

When I would create a dance, I wouldn't have the luxury that ballet people do when they take a piece of music and impose a dance upon it. What we did in motion pictures was have a song and within that song try to elaborate. My usual method was to do what a writer does: get a plot.

I never studied dance, but if you look at 'Wild At Heart,' my mother saw that movie and said, 'You are a dancer. Look at how you're moving: all that strange energy is like modern dance.'

I enjoy the freedom of modern dance as well as the constraints of classical dance.

I've made storylines through dance to complement the music. It's all about enhancing the singing and acting. It's been an amazing learning curve for me.

When I was young, I couldn't think about ballet because I had to focus on my own field. But once you secure your own performance area, you can indulge yourself in different territories. Fashion is one. And ballet is absolutely a fantasy, because it deals with the bodies in a different way.

Movement is expressive. I've never denied that. I don't think there's such a thing as abstract dance.

I'm not a signing or dancing man.