A Quote by Prabhu Deva

When I went to the sets of 'ABCD,' I felt younger. Surrounded by so many young dancers, I, too, became a dancer again. — © Prabhu Deva
When I went to the sets of 'ABCD,' I felt younger. Surrounded by so many young dancers, I, too, became a dancer again.
Young dancers are training at a very vulnerable time in their lives, through adolescence, and while they are trying to work out who they are as people, never mind as a dancer. So train the whole person, not just the dancer.
'ABCD...' was a dance movie, but it had an emotional story, and now 'ABCD 2' is a very emotional film, too.
I wonder if ever again Americans can have that experience of returning to a home place so intimately known, profoundly felt, deeply loved, and absolutely submitted to? It is not quite true that you can't go home again. I have done it, coming back here. But it gets less likely. We have had too many divorces, we have consumed too much transportation, we have lived too shallowly in too many places.
I would have young dancers come to me and ask me questions and want to know what my experiences were like: 'What's it like being a black dancer?' So I just felt like it was necessary for me to share my experiences with them.
Young dancers are training at a very vulnerable time in their lives... So train the whole person, not just the dancer.
As a dancer, you really try to stay true to whatever the choreographer/artistic director is giving you. So, now the shoe is on the other foot and I have to trust everyone else - I have to trust the dancer. As I was trusted as a dancer, I trust my dancers.
Bubbles was a very good dancer. Tremendous dancer. He was one of our leading dancers of the country at that time. And, of course, he didn't have much of a voice.
Just as a classical dancer repeats the same movements again and again, in order to achieve a greater perfection of line and balance, so Degas repeats the same motifs - it was one of the things that gave him so much sympathy with dancers.
I feel like I represent every young dancer, and even non-dancer, who felt they were not accepted by the ballet world. I'd like to think that they can see themselves in me.
I was surrounded by too many people who felt that they had a strong sense of entitlement. That I owed them something.
So many people report to be contemporary dancers, and they're not. They are sort of jazz dancers that feel like they're throwing a bit of classical in there. I mean, a true contemporary dancer has got ballet as their base and classical ballet, and that is their base. And then they choose to extemporize on that and go into a contemporary world.
Again and again [Tomas] Jefferson deftly sidesteps many of [John] Adams's often provocative remarks. They both felt the correspondence, which was written for posterity, was too important to risk by being too candid with one another.
As time has gone on I've felt less and less need to play too many notes. That's something you do when you're younger, you play far too much and too fast.
Since I became a dancer, I have felt much better about myself.
I've always felt like there was less creative space on sets with guardians. I just felt independent at a young age.
I can't tell you how many times someone has written me and said, 'I became a doctor because of you' or 'I became a dancer because of you.'
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