The creative urge is the demon that will not accept anything second rate.
AGNES DE MILLEThe acrobat is lost in a web of muscles the dancer is all but invisible in projected idea.
More Agnes de Mille Quotes
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From this voyage no one returns poor or weary.
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No trumpets sound when the important decisions of our life are made.
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Tolstoi’s scripts are almost indecipherable.
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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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Toe dancing is a dandy attention getter, second only to screaming.
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Dance constitutes a true recapturing of… freedom and childish play.
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There is something fearfully strengthening about cutting free even if the ties bandage the heart itself.
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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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One of the good things about my having some recognition is that I can do something for the people
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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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A good education is usually harmful to a dancer. A good calf is better than a good head.
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I studied the way I danced- to the point of dropping.
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When I dance I am really meditating rather then performing for an audience.
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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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Living is a form of not being sure, not knowing what next or how. The moment you know how, you begin to die a little.
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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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Who am I?, the artist asks. And he devotes his whole life to finding out.
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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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We can’t stand silence, because silence includes thinking. And if we thought, we would have to face ourselves.
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Modern dancers give a sinister portent about our times. The dancers don’t even look at one another.
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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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I think ought to have more and correct some of the matters fate fails to take care of.
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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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What I could not learn was to think creatively on schedule.
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The truest expression of a people is in its dances and its music. Bodies never lie.
AGNES DE MILLE