Dance Interpretation Quotes

Yes, anybody can dance. Whether it is right or wrong, that doesn't matter.

An artistic standpoint - I've watched a lot of ballet and source some inspiration from how they move, connect with each other, and find meaning in their movement.

I wanted to do new things with dance, adapt it to the motion picture medium.

I want people to have their own visions for the dance. Some generations will sit back and relate to the music. And the young people ...they'll have the dance right in front of them.

Choreography is amazing. I'm still a dancer, yet I transitioned into choreography then as a Creative Director. All of these creative elements are brought out of being a dancer. Directing is something that comes out of understanding movement and choreography. Directing movement is directing a dance piece.

I've always thought of the process of creating ballets as being this kind of team effort. It's not like being a painter, where you have your paint, and you have canvas, and you just go at it. I'm working with these living, breathing, functioning human beings, and they have their own thoughts and ideas about what works well movement-wise.

Give me something to dance about and I'll dance it.

I'd get sent home from the first audition of So You Think You Can Dance. My dancing is sort of controlled spasms. I fully accept it might appear ridiculous. But it's passionate!

There's no point pretending that all of Martha Graham's pieces are equally strong.

I had danced when I was younger, until I was about 12, and I always idealized it, as most young girls do, as the most beautiful art. It's an expression without words.

I love working with Alicia Keys, because it's not just the ability to do the dance to me; I think it's the ability to interpret it that excites me the most.

Honestly, I am so ignorant of how dance works that I can't even imagine a story that you would want to tell through movement.

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

I don't like the Samba; it's nonsense. With a lot of these Latin dances I can't really understand what they're all about. I like the Rumba and the Paso Doble but the others I could take or leave.

My dancing is not an attempt to interpret life in the literary sense. It is an affirmation of life through movement.

I've made storylines through dance to complement the music. It's all about enhancing the singing and acting. It's been an amazing learning curve for me.

In ballet a complicated story is impossible to tell... we can't dance synonyms.

Choreography is writing on your feet.

To illustrate what I mean, an apt dancer may be in thorough unison with the others in that particular group, and at the same time reveal a difference in dancing temperament, rhythm or technique; she may phrase, accentuate or actually interpret differently.

You cannot dance an arabesque in 'Swan Lake' and 'Nutcracker' the same way.

When I was sixteen, I danced before an audience without music. At the end someone suddenly cried 'its Death and the Maiden'. But that was not my intention; I was only endeavoring to express my first knowledge of the underlying tragedy in all seemingly joyous manifestation. The dance according with my comprehension, should have been called 'Life and the Maiden'.

It's weird when you see pieces of choreography that were done for you 15 or 20 years ago and now they are being done by another dance company.

Wayne McGregor's 'Dyad 1929' is a good example of this capable British choreographer's work.

Interpreting the dance: young women in white dancing in a ring can only be virgins; old women in black dancing in a ring can only be witches; but middle-aged women in colors, square dancing...?

Working with Madonna, she always told me the meaning behind the steps and why I was doing these steps - she treated us like actors. So I feel like I've always been an actor, truly.