A Quote by Mandy Moore

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.
I will say a lot of dancers do such beautiful things for their body and then they smoke a cigarette. I've never been a smoker, but I realized after taking yoga . . . in ballet you're not encouraged to do a lot of breathing. I think in a weird way, a lot of dancers find relief in actually breathing.
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.
It's going to take a while before we see a real shift in the students and the dancers that are going into professional companies because it takes so many years of training, but I do think that there's a new crop of dancers, of minority dancers that are entering into the ballet world.
A producer wouldn't think of making a film about ballet dancers without using real dancers, but they will cast actors who have never held a bat in baseball films.
I would love for dancers to be treated better and for dancers to have support, for dancers to have managers, agents. This is the only art form that does not have a proper support system.
It fit into my scheme of things for many reasons. At the time it was true that male dancers were looked down upon, and it was true that a lot of the male dancers were effeminate. But what I was really trying to do was develop something that would be American.
The most important thing to do as an artist is to get out of your comfort zone and work with different people: people who can't read a note of music, people who have incredible classical skills, blues and jazz musicians, pop artists, visual artists, dancers and actors. Learn from people who are creative in a different way to you and you'll keep evolving.
There are some ballets you can do for a long time. With others, you have to know when to stop. Some are very destructive. Forsythe's choreography pushes dancers to the extreme. That's why it's best to vary. That way, you break your body a little bit in different places, but not a lot in one place.
There's something refreshing about going to work with a different group of dancers. There are different ways of moving, different ways in which the institution functions. There's a contrast from place to place, so the variety and the experience of working in a different place feeds me.
Modern dancers give a sinister portent about our times. The dancers don't even look at one another. They are just a lot of isolated individuals jiggling in a kind of self-hypnosis and dancing with others only to remind themselves that we are not completely alone in this world.
I've been singing about love a long time now, because my kind of love carries a different flavor. My lyrics are not so outrageous as some. You have to think about a lot of different things. You get more mature with what you do - more experience, more capable, you know, the older you get.
You hang around actors, or dancers, the minute you sneeze, everybody has a remedy, and we're all on a million different kinds of diets, and different kinds of things that we do for exercise.
Because of work, I travel a lot, and because of that, I can experience different cultures and see and talk to a lot of different people, so I get inspired by that a lot.
So many dancers feel that what they look like is more important than who they are. This is a real danger for dancers who focus for years on appearances and think of themselves as merely a body. The choreographer can't work with them in the realm of ideas. It's a huge problem if they haven't been connecting internally. If they've decided that what's inside is of little value, they can only try to approximate some kind of look.
Some dancers dream about successful careers...and some dancers wake up and do the hard work that's necessary to achieve them.
For 20 years, I've been running an institute in Chennai where serious dancers from Kerala come with aspirations of becoming professional dancers.
This site uses cookies to ensure you get the best experience. More info...
Got it!