A Quote by Laozi

A good athlete can enter a state of body-awareness in which the right stroke or the right movement happens by itself, effortlessly, without any interference of the conscious will. This is a paradigm for non-action: the purest and most effective form of action. The game plays the game; the poem writes the poem; we can't tell the dancer from the dance. It happens when we trust the intelligence of the universe in the same way that an athlete or a dancer trusts the superior intelligence of the body.
Whether it's dance or action, what's important is hand and body co-ordination. When you are a good dancer then automatically while performing action, the co-ordination is that much easier.
Then, if action is possible or necessary, you take action or rather right action happens through you. Right action is action that is appropriate to the whole. When the action is accomplished, the alert, spacious stillness remains.
I'm obviously always interested in the dancer who's an athlete and vice versa. I expect dancers to be in condition like an athlete is and to challenge themselves in the same way, to the same physical degree.
What I found interesting in dance is the idea that my work has always been dealing with the nervousness between the human subject as a subject and the human subject as a form. And if you look at my dance films, there are always these cuts between the dancer as a form, the dancer as a subject, and this kind of very harsh treatment of the dancer as someone who's actually drawing with their body.
It takes about ten years to make a mature dancer. The training is twofold. There is the study and practice of the craft in order to strengthen the muscular structure of the body. The body is shaped, disciplined, honored, and in time, trusted. The movement become clean, precise, eloquent, truthful. Movement never lies. It is a barometer telling the state of the soul's weather to all who can read it. This might be called the law of the dancer's life, the law which governs its outer aspects
Action without intelligence is a form of insanity, but intelligence without action is the greatest form of stupidity in the world.
The connection between conscious and unconscious poses particular problems in the dancer because the body is the soul of action.
You can be Eastern or Burmese or what have you, but the function of the body and the awareness of the body results in dance and you become a dancer, not just a human being.
What I try to do is to go into a poem - and one writes them, of course, poem by poem - to go into each poem, first of all without having any sense whatsoever of where it's going to end up
What I try to do is to go into a poem - and one writes them, of course, poem by poem - to go into each poem, first of all without having any sense whatsoever of where it's going to end up.
The movement of the waves, of winds, of the earth is ever in the same lasting harmony. We do not stand on the beach and inquire of the ocean what was its movement of the past and what will be its movement of the future. We realize that the movement peculiar to its nature is eternal to its nature. The dancer of the future will be one whose body and soul have grown so harmoniously together that the natural language of that soul will have become the movement of the body.
When the mind is opening to that unbounded pure awareness, the field of pure intelligence, simultaneously the body is losing stresses and strains, and thereby the clouds that were hindering the use of inner full creative intelligence in action, they begin to wither away.
If you want a dancer's body, dance. Dance aerobics is my favourite cardio. It's very frustrating if people think you have to become a dancer to do it - you don't.
It is absurd to think that the only way to tell if a poem is lasting is to wait and see if it lasts. The right reader of a good poem can tell the moment it strikes him that he has taken an immortal wound-that he will never get over it.
I was a ballet dancer. I did other kinds of dance but ballet was my great love. But then it became clear, when I was 12, that my body wasn't going to be right. That's always a heartbreaking moment because there's nothing you can do about that. Your body is just not right. You don't have enough turnout. You're not built properly.
When your body is your instrument, it needs maintenance and it needs to be held in a certain way. That's a universal thread, whether you're an athlete, a dancer, an actor or a singer. It's all about maintaining your body because that allows you to do what you do.
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