ANTONY TUDOR

If I see a human body on the stage, I don't see it as an abstraction. I see it as a body.

My body can't demonstrate. It isn't willing to explore movements the way it used to. I've always had to find the movement in myself then show it in myself. If I've got the sense of movement for the character, I expect the dancer to get it too.

I would like to tell all dancers to forget themselves and the desire for self display. They must become completely absorbed in the dance. Even in a classical variation there should never be any thought of a dancer doing a variation--he should become identified with it.

Sometimes I feel as if sections of my ballets were done for me - that I didn't do them myself.

My body can't demonstrate. It isn't willing to explore movements the way it used to. I've always had to find the movement in myself then show it in myself. If I've got the sense of movement for the character, I expect the dancer to get it too.

Sometimes I feel as if sections of my ballets were done for me - that I didn't do them myself.

I would like to tell all dancers to forget themselves and the desire for self display. They must become completely absorbed in the dance. Even in a classical variation there should never be any thought of a dancer doing a variation--he should become identified with it.

If I see a human body on the stage, I don't see it as an abstraction. I see it as a body.