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In the same way the lifted leg of an arabesque becomes a wing, and not a mechanical leverage like a raised trap door.

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Arabesque Door Leg Leverage Lifted Mechanical Raised Same Trap Way Wing

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Marilyn Monroe Paulo Coelho Abraham Lincoln C. S. Lewis Khalil Gibran Charlie Chaplin Gautama Buddha Isaac Newton

No trumpets sound when the important decisions of our life are made.
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I think ought to have more and correct some of the matters fate fails to take care of.
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In the same way the lifted leg of an arabesque becomes a wing, and not a mechanical leverage like a raised trap door.
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Dance in the body you have.
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We can’t stand silence, because silence includes thinking. And if we thought, we would have to face ourselves.
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What they wanted was something newly experienced, and therefore unknown and hard to attain.
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Dancers don’t get invited to visit people. It is assumed a boy dancer will run off with the spoons and a girl with the head of the house.
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We can’t stand silence, because silence induces thinking. And if we thought, we would have to face ourselves.
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Emily Dickinson provided four or more alternates for every word; Beethoven wrestled with endings to the point of exhaustion; in our day Jerome Robbins and his lack of decision are a byword in the dance profession.
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Alternate Beethoven Byword Celebrity Dance Day Decision Ending Every Exhaustion Lack People Profession Wrestled
We have the most varied and imaginative bathrooms in the world, we have kitchens with the most gimmicks, we have houses with every possible electrical gadget to save ourselves all kinds of trouble – all so that we can have leisure. Leisure, leisure, leisure!
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My heroines are part of me and my heroes are part of what I’d like to know.
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To make up a dance, I still need, as I needed then, a pot of tea, walking space, privacy and an idea.
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Theater people are always pining and agonizing because they’re afraid that they’ll be forgotten. And in America they’re quite right. They will be.
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The universe lies before you on the floor, in the air, in the mysterious bodies of your dancers, in your mind.
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When I dance I am really meditating rather then performing for an audience.
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If you want to understand a nation, look at its dances and listen to its folk songs – don’t pay any attention to its politicians.
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This is the precise difference between dancing and acrobatics. The dancer tries to express something; the acrobat merely pulls, raises, stretches and grinds.
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But remember that intent is everything. One does not just jump, one lifts into the air, one rises.
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The acrobat is lost in a web of muscles the dancer is all but invisible in projected idea.
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No white man uses his feet the way an Indian does. He talks to the earth.
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Many other women have kicked higher, balanced longer, or turned faster. These are poor substitutes for passion.
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But all of these knew very well what they did not want, and what they did not want was the current coin, the well-worn usage.
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The choreographic process is exhausting. It happens on one’s feet after hours of work, and the energy required is roughly the equivalent of writing a novel and winning a tennis match simultaneously.
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So that we will miss nothing. Partly it’s greed, but mainly its curiosity. We just want to experience it. And we do.
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Dancing is such a despised and dishonored trade that if you tell a doctor or a laywer you do choreography he’ll look at you as if you were a hummingbird.
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So that we don’t go mad in the leisure, we have color TV. So that there will never, never, be a moment of silence, we have radio and Muzak.
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Destiny is made known silently.
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