Antony Tudor Quotes

I would describe my dancing talents as incredibly deep.

Do I watch dancers as people? Yes, absolutely. Do I watch really good dancers for specifically who they are? Absolutely, because how they move best and how they look best is going to be most familiar to them, and not necessarily to me.

It's one of my strongest dance pieces - having just done Play Without Words which was veering away from a lot of dance - I thought it would be nice to go back to something with almost the most dance I'd done.

Every great dance company, even when it seems poised in perfect balance, needs constant renewal of both repertory and performers.

Dancers carry themselves in completely different ways to how we do in our everyday lives. They are very free with their bodies which I'm not used too.

When I was a dancer, I was acting.

Ballet is like any other art form in that we all start out knowing nothing about it.

Who a dancer is physically feeds into character for me. Always has.

I'm a fantastic dancer!

I approach dancing from a different angle than those who begin dancing at 8 or 9. Those who have studied from the beginning never question anything.

I began to fear that the Graham work was not in lots of ways sufficient for me. I suppose it came about from looking at other dancing and being involved with the ballet - something about the air and the way she thought about dancing.

I am a professional dancer, so picking up dance steps was like brushing my teeth.

If I am expected to play a dancer, I will learn dancing but won't do the random, meaningless dancing.

I found I loved musicals as much or more than the pure dance world. I also think I became tired of dancing for other dancers.

Dance looks absurd on film, I think, like little puppets moving around.

I started under my master, Etienne Decroux, who taught me a new grammar for mime he called statuary mime. This grammar brings style creations. Without it, no art survives.

I'm very interested in dance, and I'm very interested in how people express themselves through movement. And of course, cinema is a kinetic art form. It's almost the point of cinema - it's time-based and movement-based.

I really developed an early love for ballet. Like most dancers, I am still 'first' a dancer. I'm very proud of it. Once you are a dancer, the physicality never leaves you, nor does the strength. Hopefully, it keeps you like an athlete.

I started dancing when I was 5 years old. Ballet. Flamenco.

There's a lot of traps you can fall into when you are playing someone who existed. If it comes out just as impersonation, that's bad; it has to be an embodiment. You have to live it, not just sound and look like it.

Ballet is a finite art - your body won't let you do it forever, so I wanted to do it while I could.

Ballet is a classically based art form, so it comes with a certain set of rules, at least to start with; then it's about how far you want to push from there.

I try to convey the musical notes through dance, take on the music.

Dancers are not like movie actresses. People look at our bodies, not our faces. They only recognise me when I sign my name on something and they say, 'Ah yes, Sylvie.'

For ballet dancers, style is about melding personal expression with physical form.