A Quote by Lisa Yuskavage
There was an expression of intensity in dance that was so compelling to me that I wanted a piece of that action.
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From Abby Lee Miller's intensity and her students' incredible performances to their devoted moms and its high drama, 'Dance Moms' has become one of the most compelling shows on television.
There ought not be two histories, one of political and moral action and one of political and moral theorizing, because there were not two pasts, one populated only by actions, the other only by theories. Every action is the bearer and expression of more or less theory-laden beliefs and concepts; every piece of theorizing and every expression of belief is a politcal and moral action.
Poetry is the language of intensity. Because we are going to die, an expression of intensity is justified.
I wanted to drown inside a woman in the feeling and drooling of the love I could give her. I wanted her pulse to crush me with its intensity. That's what I wanted. That's what I wanted myself to be.
I wasn't a ballet baby. My first dance class was in an outdoor pavilion when I was three. It was called 'creative movement.' The teacher gave us chiffon scarves in beautiful colors. She turned on some music and said, 'Now go dance.' So for me, dance has always been about self-expression.
Action is only really compelling when it reveals character - character revealed through action, and not action for its own sake.
I'm not bragging but I used to be rather beautiful, with lovely legs, and people would always ask me to dance. But suddenly people didn't take any notice of me any more. I was at a party in my 50s and was forced to dance with a chair because nobody wanted to dance with me.
I went to New York. I had a dream. I wanted to be a big star, I didn’t know anybody, I wanted to dance, I wanted to sing, I wanted to do all those things, I wanted to make people happy, I wanted to be famous, I wanted everybody to love me. I wanted to be a star. I worked really hard, and my dream came true.
Action films are great, but an action film that has characters that are compelling and a story that people can care about is something even better. We love to see action heroes that are vulnerable, that are sensitive, that are family people, that are accessible.
I have always added dance to my productions. When I was directing theatre, I added dance sequences where they didn't exist in the play. I think dance is the ultimate form of expression.
'Porgy and Bess' has never been thought of as a dance show, and yet it's filled with dance. It uses dance to punctuate the action, or as background, or as atmosphere; even when it's front and center, it isn't crucial.
What attracted me was less art itself than the artist’s life and all that it meant for me: the idea of creativity and freedom of expression and action. I had been attracted to painting and drawing for a long time, but it was not an irresistible passion; what I wanted, at all costs, was to escape the monotony of life.
Dance, to me, is an expression of who we are.
'Bum's Rush' is a piece about timing, and everything that's in the piece needs to be with the piece. If people are missing, or marking, or unable to use their voices, the impulses that prompt the action are lost, and its logic crumbles.
I was born in Japan, and I grew up in England, and I wanted to be an actor when I was a child because I had an uncle who was an actor. I wanted to do everything he did, and he told me to learn how to dance first. So then I learned how to dance.
Fashion to me is very emotional. It's my strongest form of self-expression, and I love wearing a piece of clothing where I feel like I can run around at any moment and dance in it. So you know, I guess when I'm designing, I want the clothes to feel celebratory and feel very light and fun and feel like you could move seamlessly.
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