A Quote by Arlene Croce

Good choreography fuses eye, ear and mind. — © Arlene Croce
Good choreography fuses eye, ear and mind.

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If you want to play something that you hear, you need to listen with your mind's eye. You've heard of the mind's eye, right? Your mind has an ear too. It's a kind of listening, but it's not using your ears to listen. It's listening with your inner ear, and that's what you want to translate onto the guitar.
The human race sees with one eye, the male eye; hears with one ear, the male ear; and thinks with one half the human mind, the male mind. And the decisions we are making show we are not bringing to the agendas, and the questions and the problems of the world, all the resources of the world to solve them.
The ear is profound, whereas the eye is frivolous, too easily satisfied. The ear is active, imaginative, whereas the eye is passive. When you hear a noise at night, instantly you imagine its cause. The sound of a train whistle conjures up the whole station. The eye can perceive only what is presented to it.
The ear participates, and helps arrange marriages; the eye has already made love with what it sees. The eye knows pleasure, delights in the body's shape: the ear hears words that talk about all this. When hearing takes place, character areas change; but when you see, inner areas change. If all you know about fire is what you have heard see if the fire will agree to cook you! Certain energies come only when you burn. If you long for belief, sit down in the fire! When the ear receives subtly; it turns into an eye. But if words do not reach the ear in the chest, nothing happens.
For what but eye and ear silence the mind With the minute particulars of mankind?
Thinking... is no more and no less an organ of perception than the eye or ear. Just as the eye perceives colours and the ear sounds, so thinking perceives ideas
In Paradise there are things which no eye has seen, no ear has heard, and no human mind has thought of.
Fight choreography has far more in common with dance choreography than it does with actual martial arts. You learn martial arts techniques, but those are just the movements for the choreography. You're working with a partner in choreography. You're working on timing.
To the uneducated eye, as to the incurious mind, much of the world is in darkness, and a thousand songs are lost on the unlistening ear.
The ear and the eye are the mind's receivers; but the tongue is only busy in expending the treasures received. It, therefore, the revenues of the mind be uttered as fast or faster than they are received, it must needs be bare, and can never lay up for purchase.
Without my husband's costumes I wouldn't have known how to accomplish what I saw in my own mind's eyes for choreography. And then seeing our choreography and knowing the background of it I am sure helped my husband a great deal with what he designed for us.
The eye solicited alone makes the ear impatient, the ear solicited alone makes the eye impatient. Use these impatiences. Power of the cinematographer who appeals to the two senses in a governable way. Against the tactics of speed, of noise, set tactics of slowness, of silence.
The eye is a very quick instrument, much quicker than the ear. The eye gets it immediately
The eye is a very quick instrument, much quicker than the ear. The eye gets it immediately.
The ear will surrender even at those times when the eye wants to close, when the eye doesn't want to watch.
It is no more irrational for the mind to take the word of the Eternal Word than for the eye to use light and for the ear to welcome sound.
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