I look for dancers who have all the technique in the world. But they must be dancers who are open-minded, who are willing to forget that they know anything. They also have to be gorgeous; they must have a clear image of themselves and strong personalities.
Modern dancers give a sinister portent about our times. The dancers don't even look at one another. They are just a lot of isolated individuals jiggling in a kind of self-hypnosis and dancing with others only to remind themselves that we are not completely alone in this world.
It's going to take a while before we see a real shift in the students and the dancers that are going into professional companies because it takes so many years of training, but I do think that there's a new crop of dancers, of minority dancers that are entering into the ballet world.
Dancers are a great breed of people. And they really want to dance so you don't have to beg them to work. However, dancers sometimes build walls around themselves because they are presenting themselves all the time: dancing is very much a confession.
So many dancers feel that what they look like is more important than who they are. This is a real danger for dancers who focus for years on appearances and think of themselves as merely a body. The choreographer can't work with them in the realm of ideas. It's a huge problem if they haven't been connecting internally. If they've decided that what's inside is of little value, they can only try to approximate some kind of look.
I would love for dancers to be treated better and for dancers to have support, for dancers to have managers, agents. This is the only art form that does not have a proper support system.
For 'Chicago,' the dancers need to demonstrate an affinity for the Fosse style. Sometimes dancers come in with brilliant technique, but if the Fosse style isn't easy for them, or it's awkward for them, they won't be right for this show.
The Royal Ballet is the best paid company, but the dancers get nothing. The stage crew get paid three times more than the dancers, and they have a job for life - dancers only have 10 years.
I know that dancers, especially ballet dancers, can't do it forever.
I would like to tell all dancers to forget themselves and the desire for self display. They must become completely absorbed in the dance. Even in a classical variation there should never be any thought of a dancer doing a variation--he should become identified with it.
Dancers today can do anything; the technique is phenomenal. The passion and the meaning to their movement can be another thing.
Ballet's image of perfection is fashioned amid a milieu of wracked bodies, fevered imaginations, Balkan intrigue and sulfurous hatreds where anything is likely, and dancers know it.
One of the best paradoxes of leadership is a leader's need to be both stubborn and open-minded. A leader must insist on sticking to the vision and stay on course to the destination. But he must be open-minded during the process.
I love writing for dancers. You don't have to worry about the lyrics. I think to write words without music must be so frustrating. It must be always be so good, so perfect.
When World of Dance came around, what I really liked about it was it's from dancers for dancers. For me growing up as a dancer and becoming an actress, Jennifer Lopez really was this icon in that world to me.
My dancers must be able to do anything, and I don't care if they are black or white or purple or green. I want to help show my people how beautiful they are. I want to hold up the mirror to my audience that says this is the way people can be, this is how open people can be.
I don't ever use dancers, and when I do, it's literally, like, four break dancers.