I found that dance, music, and literature is how I made sense of the world... it pushed me to think of things bigger than life's daily routines... to think beyond what is immediate or convenient.
The more injuries you get, the smarter you get.
I was very restless. I really wanted to be a part of a kind of a progressive society. I was fed up with these Communist doctrines and you were hassled all the time with members of the Party committee who were KGB, what you have to do, where in the West you can go or not to go.
I do not try to dance better than anyone else. I only try to dance better than myself.
I like to make my own mistakes.
Dancers are made, not born.
I cannot belong to a nonprofit organization because when you receive grants, you have to make such great compromises with your artistic plans.
My mother had a son from previous marriage and her husband died in Second World War.
You open a section of 'The New York Times,' and there's a review or a story on a choreographer or a dancer, and there's an informative, clear image of a dancer. This is, in my view, not an interesting photograph.
I like to go to anybody else's birthday, and if I'm invited I'm a good guest. But I never celebrate my birthdays. I really don't care.
Dances have a second and third life. You feel they are never ready. They always have a chance for another life.
The body cannot lie. You cannot be somebody else onstage, no matter how good of an actor or dancer or singer you are. When you open your arms, move your finger, the audience knows who you are, you know.
To achieve some depth in your field requires a lot of sacrifices. Want to or not, you're thinking about what you're doing in life-in my case, dancing.
Dancers are stripped enough onstage. You don't have to know more about them than they've given you already.
Every ballet, whether or not successful artistically or with the public, has given me something important.
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