Top 1197 Dancer Quotes & Sayings - Page 17

The level of musicianship in New York is the highest in the world. It's tough to get into. You start gigging making 50 dollars a night, or playing for nothing to get to something. It's insane. It's like being a modern dancer, or something - the hardest thing to make money from.

Performing, not rehearsing, is a dancer's raison d'etre, and I've been lucky to 'etre' in some extraordinary places - Cuba, Paris, Mongolia. In particular, a two-week stint in Greece leaps to mind. We danced in the Acropolis's Herodes Atticus amphitheater, once a venue for gladiator spectacles.

Madonna is a pro. I don't like her and have no respect for her but- I don't think she should be called a musician or a dancer or whatever you know, but I do have, well I do have respect for her ability to completely manipulate the media and have them work for her.

The serious is the most difficult branch of dancing, it requires a close study, and cannot be duly appreciated but by connoisseurs and men of a refined and pure taste. She who excels in it deserves the highest applause. A correct execution of an adagio is the ne plus ultra of our art; I look on it as the touchstone of the dancer.

The world we live in is made up of polar opposites, black/white, male/female, night/day, and a human being who possesses both masculine and feminine – vulnerability and strength – is intriguing to us, whether they be a singer or actor or dancer, intrigues us, because THAT Is who we really are.

She didn't even have to smile, and she rarely did outside her house--it was the eyes, her dancer's carriage, the way she seemed to deliberate over the smallest movement of her body.

The dance, just as the performance of the actor, is kinesthetic art, art of the muscle sense. The awareness of tension and relaxation within his own body, the sense of balance that distinguishes the proud stability of the vertical from the risky adventures of thrusting and falling--these are the tools of the dancer.

One should adpot only those situations in which one is in no need of sham virtues, but rather, like the tight-rope dancer on his tight rope, in which one must either fall or stand--or escape.

I actually quit ballet when I was offered a job, an apprenticeship at North Carolina Dance Theater Company, run by John Pierre Bonnefoux and Patricia McBride, who are my idols. Everything sort of went perfectly. I was 16, and I was about to drop out of high school and become a professional ballet dancer.

A friend of my mother's, Irene Lopez, was a Spanish dancer. She saw me bopping around the room and said to my mother, 'Rosita might have talent. Can I take her to my dance teacher?' There was no thought of a career at that time, but I knew I loved the attention, and that's so much a part of being a performer.

I used to get recognized quite often as being a 'Soul Train' dancer. Quite often, which was great at times but sometimes was not so great. Especially, back at college, it was not so great. It was pretty tough.

I try to think of myself as a struggling competitor or specialist at my craft, much like a singer, dancer, comedian, or actor. So I'm struggling to do my craft and I'm continually trying to learn to do it better. I think that's what's really been my secret.

Death is by no means separate from life. . . . We all interact with death every day, tasting it as we might a wine, feeling its keen edge even in trifling losses and disappointments, holding it by the hand, as a dancer might a partner, in every separation.

My life isn’t theories and formulae. It’s part instinct, part common sense. Logic is as good a word as any, and I’ve absorbed what logic I have from everything and everyone… from my mother, from training as a ballet dancer, from Vogue magazine, from the laws of life and health and nature.

In the Royal Ballet Company, there was a Japanese principal dancer, and onstage and in ballet, they have colorblind castings - so I did see Asian dancers, and they were always my favorite. When you have someone who looks like you, it's something you can kind of grab onto, and it makes you feel better about your place in the world.

I'm a b-boy for life. I'm a dancer, I started with free style dancing and b-boying during the '80s and I always said to myself that when I get the chance to do my own thing, I will always have the b-boy element and the dance element because that's where I come from.

What an unbearable sorrow it would be, to realized I'd never really tasted to things I'd eaten, or seen the places I'd been. What life would I have? I would be like the dancer who had practiced since childhood for a performance she would never give.

The average parent may, for example, plant an artist or fertilize a ballet dancer and end up with a certified public accountant. We cannot train children along chicken wire to make them grow in the right direction. Tying them to stakes is frowned upon, even in Massachusetts.

Princess Diana was a nice dancer because she had confidence. In fact, when we danced together she started to lead, and I looked her in eye and went, 'No, you have to let me lead.' So I grabbed her around the waist and we were off to the races.

When I first came to New York I was a dancer, and a French record label offered me a recording contract and I had to go to Paris to do it. So I went there and that's how I really got into the music business. But I didn't like what I was doing when I got there, so I left, and I never did a record there.

I grew up as a dancer, and music and dance are so closely tied, that in ballet class you're listening to all this classical music, and in modern class you're working with a live drummer. It was something that always made me feel really comfortable and I've had a connection to since the beginning.

A good dancer is one who listens to the musicWe dance the music not the steps. Anyone who aspires to dance never thinks about what he is going to do. What he cares about is that he follows the music. You see, we are painters. We paint the music with our feet.

I could talk for seven hours about Johnny Depp. There's no one like him. He has this amazing ability to watch something and then pick it up and do it, within seconds. He'll hate me for saying this, but I don't care. I'm going to say it anyway. He's Fred Astaire. He's this genius dancer. He says that he can't dance, but he can.

I do not know what the spirit of a philosopher could more wish to be than a good dancer. For the dance is his ideal, also his fine art, finally also the only kind of piety he knows, his 'divine service.'

I didn't know I wanted to act until it was around 21. I had just come back to Los Angeles after two and half years of traveling and working as a dancer and singer and was looking for a new performing art to study. I started taking acting classes and fell in love.

I believe that it is important for the artist, painter, poet, dancer, etc. to keep in mind that it is the art that drives the art world and not the other way around. Artists and other people of intelligence have the power to bring deeper content to our culture.

My dream was to become a ballet dancer, but after a year in bed with rheumatic fever at 13, I had grown too tall, and had no muscle tone left. I tried a ballet class and couldn't even do a plie without falling over. It was my first death.

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 regret that I didn't enjoy it all more. I didn't savour it until the end because I was so hard on myself. Life goes by so quickly. A dancer's career goes by so quickly. You've got to enjoy those moments when you know you've done your best.

I just enjoyed bar mitzvahs as a kid, and there was this company in the Detroit area where I grew up, and I think they recruited me as a party dancer - you know, like, you dance around and pass out glow sticks. I quickly rose in the ranks and, within a year, became an emcee, which was kind of unheard of.

In order to dance professionally, you have to start at a young age. No matter what, your muscle structure and your bones have to be groomed from a very young age. Nobody wakes up at 17 and decides to become a ballet dancer.

I like the line leading up to that: "I made your daughter the lead dancer, and you're not committed!" It's how people in their own little narrow worlds get so bent out of shape over the silliest things. I've seen it all my life, especially growing up in the South - the tempest in a teapot.

My goal is to be the best TV presenter, the best entertainer, the best singer. I still want to be the best dancer. I want to be the best at everything I do.

I've always approached my career and my life, you know, one day at a time, as if this was the last day that I'm going, because you never know as an athlete and as a dancer. You never know what can happen today, tomorrow.

The philosopher's soul dwells in his head, the poet's soul is in his heart; the singer's soul lingers about his throat, but the soul of the dancer abides in all her body.

I was a dancer when I got discovered, and I started working immediately. I started being in commercials and doing guest star roles. My first big thing, which happened maybe six months after being discovered, was 'Bring It On: All or Nothing.'

I grew up as a dancer, and music and dance are so closely tied that in ballet class, you're listening to all this classical music, and in modern class, you're working with a live drummer. It was something that always made me feel really comfortable, and I've had a connection to since the beginning.

I used to work at this store, and I got fired when I actually booked the job on 'Glee' because I had to go film 'Glee.' I was a dancer on 'Glee.' My manager was like, 'Umm this isn't gonna work, so you can come get your last check this week.'

When I was doing 'Tales from Hollywood' at the National, I was invited to dinner by the choreographer, Kenneth MacMillan. He told me I had the heart of a dancer and asked me if I'd like to come on at the end of 'Romeo and Juliet' as a friar. I said I'd love to, but sadly, MacMillan died shortly after.

The ostensible subject of my photographs may be motion, but the subtext is time. A dancer's movements illustrate the passage of time, giving it a substance, materiality, and space. In my photographs, time is stopped, a split second becomes an eternity, and an ephemeral moment is solid as sculpture.

I was a little boy who watched 'Solid Gold' every week and wanted to be a 'Solid Gold' dancer. And I would do very in-depth reenactments of 'Grease 2' and 'West Side Story' with my sister Natalie in our garage. I was a very theatrical kid.

Romeo was cute …” “Cute?” Alessandro rolled his eyes. “What kind of man is cute?” “… and an excellent dancer …” “Romeo had feet of lead! He said so himself!” “… but most importantly,” I concluded, “he had nice hands!

I cannot write poetically, for I am no poet. I cannot make fine artistic phrases that cast light and shadow, for I am no painter. I can neither by signs nor by pantomime express my thoughts and feelings, for I am no dancer; but I can by tones, for I am a musician.

When I first moved to New York, I wanted to be a dancer. I danced professionally for years, living a hand-to-mouth existence. I never tapped into nightlife; all I knew was dancers. We went to bed early and got up early and went to free concerts at the Lincoln Center and Shakespeare in the Park.

There's no dancer alive better than those of the 1950s and 1960s. It's only the energy that changes. Every now and then, someone like me comes along, and people say, 'Oh, this guy is this new thing.' But that's not so. There is no me without them. The tradition just goes on.

I grew up always wanting to be a dancer, and when I went to New York, I fell in love with the idea of performing in all ways. I saw myself traveling with a company or making my own work and being a little weird. I wasn't thinking about the business side of anything; I just knew that I loved dancing.

I've been acting my whole life. I have this huge imagination! I'm a dancer and my mom's a dance teacher, and I was always performing and entertaining people. I'd go to see live theatre or a movie, and I'd become the main character for a few days afterwards. I loved being somebody new for a temporary amount of time.

When your body is your instrument, it needs maintenance and it needs to be held in a certain way. That's a universal thread, whether you're an athlete, a dancer, an actor or a singer. It's all about maintaining your body because that allows you to do what you do.

I've reached a point where I'm comfortable in my own skin, and I do what I need to do, to feel good, but I'm built the way I am. The dancer's feet, the bruises on my legs, they're not going to go away. I think real girls have bruises. Tough chicks get bruised. They get dirty. And they have fun.

I was a late bloomer, but I had a career as a contemporary dancer before that, so I had some kind of connection to this world. But I was always a little more in love with the drama of dancing than the aesthetics, so I thought, 'Why don't you give it a chance if you think you can do it a little different?'

The dancer, or dancers, must transform the stage for the audience as well as for themselves into an autonomous, complete, virtual realm, and all motions into a play of visible forces in unbroken, virtual time...Both space and time, as perceptible factors, disappear almost entirely in the dance illusion.

In the 1960s, songs were an integral part of film narration. I have been fortunate to have had some of the best songs of the era picturised on me, some of which gave me an opportunity to use my skills as a dancer too.

Your soul is a seeker, lover and artist; shape-shifting through archetypal energy, between your darkness and fields of light, your body and spirit, your heaven and hell, until you land in the moment of sweet surrender; when you, as a dancer, disappear into the dance.

I think it's useful to experience other types of dance and other cultures, and the life of a classical dancer these days is certainly not all tutus! So experience of other dance forms is a good idea.

People like to hear songs that they can dance to. Even if they're sitting, they like being made to want to dance and move. By me being a dancer, I know how I'd dance at certain tempos. I was always good at it.

I think the new ball is terrible. It's the worst decision some expert, whoever did it, made. It's terrible. It's like touching an exotic dancer and then going and touching a plastic blow-up doll. You know, it feels different.

On the videos for '1234' and 'My Moon My Man' I wanted to make the songs visible. And, really, what way can you make sound visible other than good old naive dancing? I was working with a choreographer, but I'm not a dancer. Any notion of elegance is impossible with me.

I am realizing and accepting my role as a tap dancer in this world is not only to tap dance for the sake of performance, but through tap dance be able to share and spread a message and congregate with people I would not necessarily be with had it not been for dance.

She could give herself up to the written word as naturally as a good dancer to music or a fine swimmer to water. The only difficulty was that after finishing the last sentence she was left with a feeling at once hollow and uncomfortably full. Exactly like indigestion.

A lot of people might think the job of a model isn't necessary anymore, but just like an actor, singer - how they make you feel a certain way - how watching a dancer gives you emotion, models can do the exact same thing to many different people.