Quotes About Choreography

It's probably what I'm most interested in as a choreographer: how I can alter and shift and develop the structure of a piece and of the space.

The chance to work on Broadway choreography as opposed to having to deliver Broadway choreography can be two distinct things.

The body moves through space every day, and in architecture in cities that can be orchestrated. Not in a dictatorial fashion, but in a way of creating options, open-ended sort of personal itineraries within a building. And I see that as akin to cinematography or choreography, where episodic movement, episodic moments, occur in dance and film.

Personally, I loved our performance for the 2018 MAMA's. I loved our outfits and choreography.

There are many things I love about my job! For instance, as a creative outlet, there's no better way to express myself than through choreography and physical movement.

I liked the choreography, but I didn't care for the costumes.

The slender, swift Bruce Lee was the Fred Astaire of martial arts, and many of the fights that could be merely brutal come across as lightning-fast choreography.

I abhor the human stupidity and vanity that takes pride in forcing tigers, lions, and leopards to sit nicely side by side. It reminds me of the government choreography that displays brightly garbed minorities in a parade, minorities granted a crumb of political autonomy in exchange for providing an optical simulation of cultural diversity in their country of residence. But wild animals (as opposed to humans) form groups according to species to enjoy specific benefits.

stewart = the art of stew choreography

George Balanchine is my role model because his work is so varied. You can see two ballets of his and not even realize that they are by the same choreographer.

I think when you're doing a musical, you have to be attuned to the director's vision. You're working with a variety of people, singers and dancers, so you have to create movement and dance that is for all abilities. You have to further the story through the dance.

I would do musicals in high school where there was dancing, and I would sing my verse, and then they would choreograph it so when I would take an eight-count to back up to the back of the stage while the other dancers covered me up because my body was totally... I was always in newborn-deer mode.

That's one of the main things I do, work with choreographers. I've been doing it a long time, and it's a real important part of my life as a soundmaker, making music for dance.

As a stunt guy, you become a mini-director. You're talking to actors about performance.

When you're fighting with a stunt person, your intent is to miss.

There's a lot of directing within the stunt coordinator's job.

It's all choreographed; it's a routine. So I told everyone I really wanted to try fighting in action films. I had no stunt experience, but I had the dance background, and I was very agile and coordinated. And the best thing about being a newcomer to acting is you can afford to try new things.

Dance is a tough life (and a tougher way to make a living). Choreography is even more brutal because there is no way to carry our history forward. Our creations disappear the moment we finish performing them. It's tough to preserve a legacy, create a history for yourself and others. But I put all that aside and pursued my gut instinct anyway. I became my own rebellion. Going with your head makes it arbitrary. Going with your gut means you have no choice.

There was lots of noise and action, but if you listened carefully, you could tell that the kids in the bushes were actually playing in other universes, all choreographed so neither players nor equipment would get in each other's way. She had picked the right cover; classical anime was just too highbrow for these dorks.

You'd have to go all the way back to 1972 to find a version of me who didn't care about theater, who didn't read Playbill and watch the Tony Awards, or get why Bob Fosse's choreography was so groundbreaking that all you need to say is 'Fosse hands' and theater people know what you mean.

I think it's absolutely possible for any woman to use the moves I do with Lady Gaga. Just put on her 'Born This Way' video or turn on one of her songs, spend 20 minutes and get a routine down just by watching our choreography. You'll start to see a difference in your abs, legs and butt. Anyone can get great results from this.

Sometimes it gets a little too bubblegum for me, but what I do love about KPop videos is their attention to detail, and their choreography and dancing are always spot-on.

I've just been learning how to direct my own videos, choreography, doing costumes... every creative opportunity there is with my music I've taken.

I come up with the ideas for my videos, and I write the lyrics and choreograph them, and I direct them and tell everyone what to do and how I want them to sing the parts and do the tongue pops and eye rolls and stuff like that.