Quotes About Choreography

I am dumb when it comes to learning dance steps.

Dancing is just like racing. You don't learn choreography. They just give you steps to do, and you do them over and over and over. It's very much like what I do in racing.

A lot of heroines ask me to make the dance steps easier.

When I was 5 years old, I saw people dancing in my head. In college, I would choreograph for the cultural shows, and in my notes, I would actually create formations of people. It was how my whole brain worked.

I feel an obligation to use black dancers because there must be more opportunities for them, but not because I'm a black choreographer talking to black people.

The best seat in the house often depends on the ballet. For instance, much of the first act of 'The Nutcracker' is domestic and small scale, so it's great to sit up close. But the second act features elaborate scenery and choreography, which are better to observe from a distance.

'The Company' was interesting. I didn't love it, although it might be compelling to someone who isn't a dancer. There wasn't a lot of dialogue, and you were just kind of observing the creative process of choreography and in class.

Chaos comes before all principles of order & entropy, it's neither a god nor a maggot, its idiotic desires encompass & define every possible choreography, all meaningless aethers & phlogistons: its masks are crystallizations of its own facelessness, like clouds.

I've created, directed and choreographed for Lady Gaga since the beginning, so 'Born This Way ' this was musically such an amazing evolution and such a brilliant record. So when she played it for me, it took me a while to find out the visual interpretation that I could give back to her.

Choreography is amazing. I'm still a dancer, yet I transitioned into choreography then as a Creative Director. All of these creative elements are brought out of being a dancer. Directing is something that comes out of understanding movement and choreography. Directing movement is directing a dance piece.

When I began to choreograph and find my way pulling other artists' dreams out and changing music in a visual way, there was still a part of me that had something more to say. There was still a desire to rock a stage and ultimately perform the eight count of my dream, but there was a lot of insecurity there.

The Paddy Stone dancers were all upwards of 5ft 6in and stunningly beautiful. I was stocky, tough-looking and 5ft 3in. So I became determined to create my own troupe.

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.

I would have to challenge the term, modern dance. I don't really use that term in relation to my work. I simply think of it as dancing. I think of it as moving.

I think I just have this need to be a storyteller. That's why I wasn't a great dancer - I couldn't articulate a story. I was a better choreographer. I have the need to to just express myself in that way. I can't explain it.

I've always been excited by the strangeness of ballet, but I can't bear it when people just come forward and do a turn in the air for no reason.

If we think something is not good, we'll openly say it. If there's choreography, for example, and it feels like it's going to be too taxing on our physical resources - as I said, we're not getting any younger - we'll say so, and then we'll make those changes.

Ballet costumes are easier that opera because they are designed for movement.

I had actually been on tour in Japan and I had my own world tour that I was doing. I was used to doing a show for an hour, so I was always learning choreography.

I consider myself kind of a reporter - one who uses words that are more like music and that have a choreography. I never think of myself as a poet; I just get up and write.

When we're choreographing, we're on the ice five or six hours a day. The setting for your skin is just horrendous - the stress and the competition makeup and the training itself.

When you do 'Strictly,' you're kind of restricted. You have to dance for 90 seconds, you have to choreograph for your partner.

Don't get me wrong, I really like being a judge on 'Strictly.' But my first love and passion is directing and choreography and I will be doing that until the day I die.

Balanchine was just able to strike the balance between literal narrative and abstract dance.