A Quote by Alla Osipenko
It is a temptation to exploit one's technique because an audience is easily reached this way, but they cannot be moved by technique alone and to move an audience is the role of dance as an art.
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Every teacher will tell you that you cannot dance classical technique with perfection, there is no such thing, there is no way. So you have to adapt the technique to your abilities or to your deficiencies. Learn to cheat!
Sometimes I just rely on technique on stage, but it's not about technique. It's about how much you want to deliver the message to the audience. That's all.
I try to show good technique - boxing technique, wrestling technique, jiu jitsu technique.
Technique alone is never enough. You have to have passion. Technique alone is just an embroidered potholder.
I don't understand choreographers who say they don't care about the audience or that they would be happy to present their works non-publicly. I think dance is a form of communication and the goal is to dialogue with the audience. If an audience member tells me they cried or that the dance moved them to think about their own journey or a family member's, then the work is successful.
Sahasrara is your awareness. When it is enlightened, you get into the technique of the Divine. Now there are two techniques - the technique of the Divine and the technique that you follow. You cannot act as Divine but you can use the Divine power and maneuver it.
The novel is perhaps the highest art form because it so closely resembles life: it is about human relationships. It's technique, page by page, resembles our technique of living day by day-a way of relating.
Everywhere there is craft and technique; everywhere there is artistry and form. Art itself, technique, is ponderous and clumsy, and because of its awkwardness it obstructs that inner element.
I do think there is great strength, though, in starting a sermon with a story, then returning to that story at the end. That puts book ends to a sermon. It is a real simple technique that communicates to the audience that there is a sense of closure, that they have a package here, or we began and we closed with this. I think that's just a nice technique.
String theory has had a long and wonderful history. It originated as a technique to try to understand the strong force. It was a calculational mechanism, a way of approaching a mathematical problem that was too difficult, and it was a promising way, but it was only a technique. It was a mathematical technique rather than a theory in itself.
I find that you can use an acting technique when the thing isn't working, not that you make the technique the end result of your work. You use the technique when you're in trouble and things aren't flowing the way they should. It's a way of fooling yourself to make it work again.
No technique is possible when men are free. Technique requires predictability and, no less, exactness of prediction. It is necessary, then, that technique prevail over the human being.
There's an awful lot to be desired. I've gone to places where people say to me, "What's your technique?" Technique? What the hell technique is there to acting? We're acting because even with my voice I'm giving what I think is what I want to say.
I have acting technique; I have singing technique; I don't have a writing technique to fall back on.
Some people when I speak of awareness of the "inner body" call it a technique. I would not call it a technique because it is too simple for that. When the oak tree feels its roots in the earth, its connectedness with the earth, it is not practicing a technique.
We've reached a point where we are not a very empathetic people, and art without empathy is art without an audience. My basic viewpoint is that without art we're alone.
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