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The practice mirror is to be used for the correction of faults, not for a love affair, and the figure you watch should not become your dearest friend.

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Correction Dance Fault Mirror Practice Used

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Modern dancers give a sinister portent about our times.
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Tolstoi’s scripts are almost indecipherable.
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What they wanted was something newly experienced, and therefore unknown and hard to attain.
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Find the passion. It takes great passion and great energy to do anything creative. I would go so far as to say you can’t do it without that passion.
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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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The artist never entirely knows. We guess. We may be wrong, but we take leap after leap in the dark.
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Toe dancing is a dandy attention getter, second only to screaming.
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Dancers aren’t made of their technique, but their passion.
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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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What have we got here in America that we believe we cannot live without?
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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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No trumpets sound when the important decisions of our life are made.
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Living is a form of not being sure, not know what next or how… The artists never entirely knows.
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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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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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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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