A Quote by Jiri Kylian

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!
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.
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.
When a young person asks me: 'Can you show me how to do this?' I simply answer: 'No, I am going to show you how to do it. But then, you'll have to learn with your own technique, your own way of moving, your style, your abilities and your limitations. You are going to learn to be yourself, not someone else.
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.
If you obey the technique to perfection, that technique will become invisible.
Learn technique; have full command to the extent of not being conscious of how it is done. When craftsmanship has been developed, you are free to create... technique will give way to expression!
I'm in total awe of the technique of great film people. Because if you get your emotional life up to perfection by miracle on Take One, you better have a technique to keep doing it again and again and again.
As a young performer, what you need to be doing is building your technique and musicality, not promoting your abilities - unless you're ready to take on all that will result from such an approach.
I try to show good technique - boxing technique, wrestling technique, jiu jitsu technique.
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.
Remember that for every technique you think you can fall back on, there is a counter for it, or there are times when it cannot be used. When real battle comes, you must remember that some things will not be applicable. Don't think that any one technique is quintessential.
I've studied a technique called the Sanford Miesner technique, that teaches you how to focus. It's mainly about daydreaming. And the technique's really about imaginary circumstances. Using your imagination to sort of daydream about stuff. It makes you emotional in a scene.
The technique of positive thinking is not a technique that transforms you. It is simply repressing the negative aspects of your personality. It is a method of choice. It cannot help awareness; it goes against awareness. Awareness is always choiceless.
You have a lifetime to learn technique. But I can teach you what is more important than technique, how to see; learn that and all you have to do afterwards is press the shutter.
I thought you got faster by running on sleds. That does get you faster, but the most important thing when it comes to speed is getting your technique down. Technique, that's the main thing when it comes to speed.
I am sincerely trying now to create a dance technique based entirely upon corrective exercises, created with a knowledge of human anatomy; a technique which will correct physical faults and prepare a dancer for any type of dancing he may wish to follow; a technique having all the basic movements which govern the actions of the body; combined with a knowledge of the origin of movement and a sense of artistic design.
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