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| The mystery of touch, the beauty of learning the many ways. |
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| Just keep going in a straight line until you have to turn. |
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Back then we caught up to the ancient idea that we have an inner life that can't be hidden. |
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| Feet, too, have their tales. |
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| Keep turning until you have to go in a straight line. |
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| Turning points are an occasion for reflection. |
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| As greater clarity comes with age one must swallow the irony that it has come too late. |
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| This is a team I want to play on. |
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| Falling is a part of risking, daring is necessary to freedom. |
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| Experiment with free fall, do the impossible. |
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| What do the muscles remember? |
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| For as long as I remember, behavior, my own and others, has fascinated and puzzled me. |
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| How are you feeling today? A gesture, a seed, take it into space. |
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| You think that's dance? Get down on the floor and ‘moo’…. |
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| Remembrances of a childhood flying hell bent downhill, twisting uncertainly. |
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| An artist grows from making things every day. |
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| I confess to a directional paralysis, old contrariness. |
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| Structure and freedom, freedom and structure. |
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| I’m not going to be here forever, honey. |
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| Don’t be afraid to open, or there is no change. |
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| So let’s begin again, getting to the bottom. |
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You cannot possibly do that the same way. Go ahead,
try to retrace your steps backwards. |
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| Brain’s not set yet. Imprint: brain’s not set. |
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| ‘Keep going Charlie, Go, go, go. GO, go, go!’… |
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| That’s when Charley broke his nose…. |
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| I ask in choreography, what is an ending? |
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| I’m not going to dance. I’ll just watch. |
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| Forget imposing, just expose. |
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Disrupt your individual sense of phrasing, timing, energy, attention to space,
go beyond your comfort zone. |
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| Breath in/breathe out. Inspiration comes in waves. High tide. Low tide.
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Don’t run away from developing your material in movement
any more than you would in storytelling. |
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| I exhale smoothly. cautiously. lifting the corners of my sighs. |
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| How de we respond, rearrange, develop: choreograph our experience? |
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The lesson of lab is to let the self step outside conventions,
and thereby discover what they are. |
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The feeling in the midst of a creative endeavor is close to flying,
to falling in love, to being intensely inside and outside one’s self,
and I suppose I would say, to a spiritual experience. |
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| Close your eyes, bring your fingers together. |
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Like voices in musical counterpoint, tone of voice, facial expression and body posture
form an integrated message. |
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Capture the repetition in your daily patterns of work and speech, include the silences.
Give it back to us transformed |
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With twenty-six muscles in the face, and infinitely pliable fascia below,
the possible variations are staggering. |
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| We learn from infancy to read, first from our mother's faces. |
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| It’s hard to lie. You have to fix your face which is almost impossible. |
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I dare say that to find out how we move is to find out who we are.
It may not be the image we identify with. This can indeed be unsettling. |
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To have all one’s faculties challenged is to be fully charged. Consciously connect
to a community in a common pursuit, and for a brief moment win a stay in the
on-going struggle with questions of consciousness, purpose, and immortality. |
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| It is as necessary to live with limitations as it is to overcome them. |
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| It turns out there's no bottom of it. |
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| The moment - and a thousand images pass across our faces. |
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| Energy in circles explodes like a cyclone. |
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| …an inner image bank that’s clicking all the time. |
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| Peter’s head is vibrating. |
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| All the cheese in the universe is not here. |
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