A Quote by Elizabeth Hoyt

But like the legless man, I'm unaccountably fascinated by those who can dance. — © Elizabeth Hoyt
But like the legless man, I'm unaccountably fascinated by those who can dance.

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When I write, I feel like an armless, legless man with a crayon in his mouth.
A critic is a legless man who teaches running.
The desires of the heart are as crooked as corkscrews Not to be born is the best for man The second best is a formal order The dance's pattern, dance while you can. Dance, dance, for the figure is easy The tune is catching and will not stop Dance till the stars come down from the rafters Dance, dance, dance till you drop.
I didn't want to move or act like a rich man. I wanted to dance in a pair of jeans. I wanted to dance like the man in the streets.
Once a song and dance man, always a song and dance man. Those few words tell as much about me professionally as there is to tell.
You dance love, and you dance joy, and you dance dreams. And I know if I can make you smile by jumping over a couple of couches or running through a rainstorm, then I'll be very glad to be a song and dance man.
I saw the dance as a vision of ineffable power. A man could, with dignity and a towering majesty, dance. Not mince, cavort, do "fancy dancing" or "showoff" steps. No: Dance as Michelangelo's visions dance and as the music of Bach dances.
The inter-relationships between people have always fascinated me, as a director. And particularly those who are battlers in life, those who are on the fringes of life, they've always fascinated me, and I've always loved working on those characters.
There are those who dance to the rhythm that is played to them, those who only dance to their own rhythm, and those who don't dance at all.
When I was growing up, Asians weren't known for dancing. I knew all my older aunts and uncles did, like, ballroom dancing and stuff. And then you saw all those dance crews, like Quest and Jabbawockeez, and now they're, like, known for dance.
Everyone tries to get you to dance at clubs. They come up to you and say "You gotta dance! you gotta dance!" And then I dance, and they're like, "Not like that!"
I'm not naturally a gifted dancer, and I don't enjoy it. I didn't go to any of those classes in drama school 'cause I was like, "I'm not going to dance. I don't need to learn to dance." I regret that.
The sports arena Julie calls home is unaccountably large, perhaps one of those dual-event 'super venues' built for an era when the greatest quandary facing the world was where to put all the parties.
We dance for laughter, we dance for tears, we dance for madness, we dance for fears, we dance for hopes, we dance for screams, we are the dancers, we create the dreams.
I'm fascinated by people in their eighties and nineties. Especially those who are still creating and living in an interesting way. I am fascinated by them because they have so much to say now that they've lived for so long.
For me, acting in scenes with other people is like playing soccer with a bunch of legless five year olds. It's not really fair to them, but what else can I do, you know?
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