A Quote by Graeme Murphy

There's a line of dancers waiting to get into Sydney Dance Company. — © Graeme Murphy
There's a line of dancers waiting to get into Sydney Dance Company.
And currently, there are four to five new works in the pipeline for upcoming celebrations such as the Sydney 2000 Olympics, Australian Federation, my 50th Birthday, and Sydney Dance Company's 25th Anniversary.
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.
As long as there are dancers around who love to dance, there will be an Alvin Ailey American Dance Company. We miss him so much, but he's alive as soon as you see a dancer hit the stage.
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.
It fell into my lap. I grew up doing dance classes. And one day, a film production company contacted my dance school looking for background dancers. I wasn't looking for it. It just happened. And I found myself on set. And that was that.
I was always the kid down the street who got the other kids to put on a show. But it was only when I was 19, and discovered ballet and contemporary dance, that I got interested in the fact that you could have a whole evening of dance - rather than just waiting for the dancers in a musical.
Saturday mornings in spring should always start with a jolt of dance by Paul Taylor performed by Taylor 2. The touring ensemble, an adjunct of the Paul Taylor Dance Company, offered a rare New York performance... It was an impressive event, presented by a group of highly individualistic dancers.
Nobody cares if you can't dance well. Just get up and dance. Great dancers are great because of their passion.
I see myself helping the next generation of dancers who come along, helping them to keep the dance focused, so we don't get into a position where they're saying in 2050, or whatever, that around 2001 or 2002 or something the dance died.
When I started off with 'Dance India Dance,' even the TV show people thought it won't be accepted. But with the talent that the show received, I was able to personally tutor dancers to amalgamate contemporary dance moves on Bollywood tracks.
The best thing about working on a movie with dancers is that we would get to have dance parties all the time!
If you're impatient while waiting for the bus, tell yourself you're doing 'Bus waiting meditation.' If you're standing in a slow line at the drugstore, you're doing 'Waiting in line meditation.' Just saying these words makes me feel very spiritual and high-minded and wise.
It's important to get well-rounded right off the bat. A lot of experienced dancers can get pigeonholed into one thing. I've been hired for a lot of different gigs simply because I can do a lot of different things with different levels of dancers. And it's sad to me that some dancers don't do more.
It's been a process of evolving within a family company to get the autonomy I now have from a boss like my father. If you're sitting there waiting for a pat on the back, you're going to be waiting a long time.
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.
For an actor, one doesn't have to be a dancer. But because our Hindi movies have so many song and dance sequences, it is preferred if they are good dancers. It's always advantageous to know dance. But if you don't, it's okay.
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