I see plainly how external images influence the image that I call my body: they transmit movement to it.
I use a lot of balance training and functional training. Basically it's where you add an element of instability to a regular exercise. So whether it's on the physioball or the Bosu ball or just balancing on one leg, I try to incorporate an instable plane and/or movement to the exercise, so the body's doing two or more movements.
I don't think I see the way bodies move in any special way. People say I do, but everybody moves. I don't see why all of a sudden I'm a specialist in the way bodies move.
If you're free of mechanical thoughts and free of knowing that your body and bat are going to be in the right position at the right time, you can freely focus on the ball. It's a great feeling.
I had to lower my hands, I had to work my hips a different way. I also had to stride to get the power. I'd always been a standstill hitter and had to generate power from my upper body. Basically, I had to change everything I was doing. It was really difficult.
I wasn't a ballet baby. My first dance class was in an outdoor pavilion when I was three. It was called 'creative movement.' The teacher gave us chiffon scarves in beautiful colors. She turned on some music and said, 'Now go dance.' So for me, dance has always been about self-expression.
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.
'GLOW' was the first time that, from head to toe, I was asked to use my body in a functional, powerful way as an actor - and that felt amazing.
There's an innate feeling when I choreograph in juxtaposition to how I feel as a dancer. When I choreograph, I never really look into the mirror. But as dancers, we always check ourselves in the mirror. I do feel that when I choreograph, I am making a dance on my own body. Much of it is my own response to the music.
I loved to dance because I was scared to speak. When I was moving, I could feel.
When I dance, I picture myself and the floor in my head.
As human beings we're visual creatures, and it's so easy to play the guitar by looking at it. It's a real challenge to go from that visual way of perceiving the guitar to getting back to that pure sound connecting to the instrument.
In other fitness pursuits, you may have learned to go through the motions first and perfect your form second. In Pilates, it's the other way around. You learn to control your abs first and then proceed through a series of more progressive movements. At all times, you should feel in control of your body.
You start chasing a ball and your brain immediately commands your body to 'Run forward, bend, scoop up the ball, peg it to the infield,' then your body says, 'Who me?'
I played a lot of baseball growing up, and I always hit better if I kept moving before the pitch instead of standing still in the batter's box. I think a waggle does the same thing in the golf swing. It keeps you relaxed and gets your body ready to hit the ball.
I would just like to learn to control my limbs.
When eventually I started to act a bit more, I realised that circus school had taught me something that a lot of actors my age didn't have: physicality. They didn't know how to move. Acting is not all about talking. There is something animalistic about it.
I've learned new footwork patterns that are very unusual. I've learned how to find a lower centre of gravity, and I've found more angles to throw shots.
The mental imagery involved with pianistic tactilia is not related to the striking of individual keys but rather to the rites of passage between notes.
When you sing a song the way I sing it, you have to use your whole body. It's almost like working out.
Before you get into the mind, you have to inhabit the physicality. Body language is a great way of speaking.
I am dancing all the time. Every gesture, the body line of every pose, the way I get from place to place, the movement in the acting - none of it would be the way it is if I weren't a dancer.
You learn to control every aspect of your muscles, your face, your toes, your fingernails. And that is how you tell a story, through movement.
There is no such thing as natural touch. Touch is something you create by hitting millions of golf balls.
With art, your motor sense should be developed at full capacity.
