A Quote by Misty Copeland
What makes people and companies and artistic directors and choreographers interested in working with dancers is the ability to kind of let go of everything you think you know and be a blank canvas.
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Just slap anything on when you see a blank canvas staring you in the face like some imbecile. You don't know how paralyzing that is, that stare of a blank canvas is, which says to the painter, ‘You can't do a thing’. The canvas has an idiotic stare and mesmerizes some painters so much that they turn into idiots themselves. Many painters are afraid in front of the blank canvas, but the blank canvas is afraid of the real, passionate painter who dares and who has broken the spell of `you can't' once and for all.
It's kind of become a journey about the dancers, but dancers are the reason why this show is so successful. They are the choreographers, they are the teachers and if not for their hard work, there would be no 'Dancing With the Stars.'
Just dash something down if you see a blank canvas staring at you with a certain imbecility. You do not know how paralyzing it is, that staring of a blank canvas which says to the painter: you don't know anything.
The people that have inspired me the most were dancers and choreographers. Even growing up, if I dealt with any pressure to be a certain way, I knew that as an artistic lane, dancing was the one that was a little more freed up - like, no one in my family is really doing that; I can be that person.
... a canvas that I have covered is worth more than a blank canvas. My pretensions go no further; that is my right to paint, my reason for painting.
All writers, musicians, artists, choreographers/dancers, etc., work with the stuff of their experiences. It's the translation of it, the conversion of it, the shaping of it that makes for the drama.
Dancers can get to see almost everything now. When I used to go into companies to make a piece, the dancers had hardly ever seen my work. Now they can watch it on YouTube. It means they're much faster at picking up material.
Many painters are afraid of the blank canvas, but the blank canvas is afraid of the truly passionate painter who dares-and who has once broken the spell of 'you can't.'
The people that have inspired me the most were dancers and choreographers.
I like it when people are kind and I like people who are looking for collaborators. Sometimes you can feel like a moving prop, and that could be amazing, you can be a prop in somebody's incredible vision, but I'm more interested in people who are looking for actors they can collaborate with and make something together with. I like stretching myself, I like trying new things out, but I'm really interested in working with directors who have a very specific style and a unique way of working.
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.
I think a lot of wrestling companies probably function with one person who at the end of the day has to make calls and go over everything. But we're a bunch of people working together, we have a system.
With directors, some have a kind of in-built ability to just know how to work with actors and get the best out of actors, and some don't have a clue about acting. I think it'd be a good idea if directors put themselves in front of the camera, or even went on a six-week drama course, just to know a little bit about what that feels like.
All drama teachers are very effusive, very emotionally open, very big, and gesticulate a lot, and are very physical. Those people don't work in banks and they don't work for pharmaceutical companies. They teach drama, or they may be theatre directors. That's why I love people who are openly gay in theatre, because they have license to do what they like, and there's a kind of artistic liberal tolerance thing that goes on.
Choreographers tend to treat ballet dancers like kids they can manipulate.
You wind up creating from silence, like painting a picture on a blank canvas that could bring tears to somebody's eyes. As songwriters, our blank canvas is silence. Then we write a song from an idea that can change somebody's life. Songwriting is the closest thing to magic that we could ever experience. That's why I love songwriting.
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