When you do one more 'Cinderella' or whatever, what is there to learn? Every part in the repertoire has a good side and a bad side, and the more often you do the same ballet, the more often the bad side comes out. If you want to give dance life, you must give it fresh food, not keep going back to the garbage to look for old scraps.
Interpretation
Repetition stifles creativity; fresh experiences fuel artistic growth.
Sylvie Guillem emphasizes the importance of variety and innovation in dance. She argues that repeatedly performing the same piece can highlight its flaws instead of its beauty, and to truly invigorate dance, one must seek new inspirations rather than reverting to old routines that may bring diminishing returns.
In practice
In a dance workshop, to inspire students to explore new styles.
There are some ballets you can do for a long time. With others, you have to know when to stop. Some are very destructive. Forsythe's choreography pushes dancers to the extreme. That's why it's best to vary. That way, you break your body a little bit in different places, but not a lot in one place.
Dancers should realise that they are really lucky. Dancing is not a job. It's people who are chosen. And you must realise that you are chosen. Sometimes I see a performance that makes me really angry - I think, 'Those people are lucky, and they don't realise it.'
My style says, 'Look at me, don't look at me.'
You I am sure will forgive me for sincerely remarking that you might curb your magnanimity and be more of an artist, and 'load every rift' of your subject with ore.
In order to design buildings with a sensuous connection to life, one must think in a way that goes far beyond form and construction.
Fashions come and go; bad taste is timeless.
In art, truth is a means to an end; in science, it is the only end.
Then I thought, Whoa. If there are no photographs, then there is no history. I'm going to get in there. I'm going to make these pictures. We need a record.
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