We look at the dance to impart the sensation of living in an affirmation of life, to energize the spectator into keener awareness of the vigor, the mystery, the humor, the variety, and the wonder of life. This is the function of the American dance.
In a dancer, there is a reverence for such forgotten things as the miracle of the small beautiful bones and their delicate strength.
Dancers today can do anything; the technique is phenomenal. The passion and the meaning to their movement can be another thing.
To me, this acquirement of nervous, physical, and emotional concentration is the one element possessed to the highest degree by the truly great dancers of the world. Its acquirement is the result of discipline, of energy in the deep sense. That is why there are so few great dancers.
Nobody cares if you can't dance well.
It is difficult to see the great dance effects as they happen, to see them accurately, catch them fast in memory. It is even more difficult to verbalize them for critical discussion. The particular essence of a performance, its human sweep of articulate rhythm in space and in time has no specific terminology to describe it by.
Every dance is a kind of fever chart, a graph of the heart. The instrument through which the dance speaks is also the instrument through which life is lived ... the human body.
To me, a building - if it's beautiful - is the love of one man, he's made it out of his love for space, materials, things like that.