A Quote by Natalia Makarova
Dancers, many dancers today can do so much technically. You can give them steps that are complicated, then more complicated, pyrotechnical - and they can execute these steps to perfection. But to do simple steps with a pure classical line, that is truly difficult.
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The defect in wisdom and taste which exists among the majority of dancers is due to the bad education which they generally receive. They apply themselves only to the material side of their art, they learn to jump more or less high, they strive mechanically to execute a number of steps, and like children, who utter a great many words devoid of sense and relation, they execute many phrases of steps devoid of taste and grace.
It's a beautiful sight to see good dancers doing simple steps. It's a painful sight to see beginners doing complicated patterns.
Utopia lies at the horizon. When I draw nearer by two steps, it retreats two steps. If I proceed ten steps forward, it swiftly slips ten steps ahead. No matter how far I go, I can never reach it. What, then, is the purpose of utopia? It is to cause us to advance.
Sometimes learning simple little steps kind of gives couples a pattern that they can follow, and they feel a bit more confident. I literally melt every time I help a couple with their first dance, and they're not dancers.
All the children in the school should learn the steps of everything, before they learn the thing, then they know which step they're doing better, because your voice is in certain steps and has to do most of the things that have been composed in those steps.
When you take dancing lessons, you learn steps and you learn steps and you learn steps. It can go on for a long time. And then one day, you just learn to dance, and it is so different.
One can remain more sure-footed by taking small steps, but perhaps achieve greater speed by taking bigger steps. Of course, one also runs the risk of setting out in a completely erroneous direction. Surely the important thing isn't the length of our steps, but that the objective is clear.
We're not like the distance guys. I have a very simple approach. I don't overcomplicate. People ask me, are you doing 42 steps, 44 steps for 100 metres? I don't know.
Tortoise steps, slow steps, four steps like a tank with a tail dragging in the sand. Tortoise steps, land based, land locked, dusty like the desert tortoise herself, fenced in, a prisoner on her own reservation -- teaching us the slow art of revolutionary patience.
I'm afraid of taking steps that are not on the map, but by taking those steps despite my fears, I have a much more interesting life.
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.
Utopia is on the horizon. I move two steps closer; it moves two steps further away. I walk another ten steps and the horizon runs ten steps further away. As much as I may walk, I'll never reach it. So what's the point of utopia? The point is this: to keep walking.
The steps must be second nature to me, so that the music seems to be drawing the steps out of me and I don't look as if I'm struggling to fit the steps to the music.
Know that there is so much more to you than your body. It's not just about perfecting the steps; you must trust your instincts to tell deep, emotional stories through the steps that you are performing.
Some dreams truly are 'impossible dreams.' However, many aren't. Knowing the difference is often one of the first steps to finding your element, because if you can see the chances of making a dream come true, you can also likely see the necessary next steps you need to take toward achieving it.
I was a dancer from a young age. My parents were dancers; we were taken to a lot of ballet as children. It occurred to me that what I liked more than dancing the steps was acting the story of whatever particular performance I was taking part in.
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