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By making the start of the sequence automatic, they replace doubt and fear with comfort and routine.

Twyla Tharp

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Twyla Tharp
Age: 83
Born: 1941
Born: July 1
Ballet Dancer
Choreographer
Dancer
Writer
Portland
Indiana
Comfort
Doubt
Start
Making
Fear
Automatic
Replace
Sequence
Routine

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A commission is an invitation to fall in love.
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Never worry that rote exercises aimed at developing skills will suffocate creativity. At the same time, it's important to recognize that demonstrating great technique is not the same as being creative.
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In terms of individuals who actually inspired me, very few of the academic people that I had access to had that power over me. Maybe it's simply because I wasn't that committed to geometry.
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But obligation, I eventually saw, is not the same as commitment, and it's certainly not an acceptable reason to stick with something that isn't working
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Solitude is an unavoidable part of creativity. Self-reliance is a happy by-product.
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The first steps of a creative act are like groping in the dark: random and chaotic, feverish and fearful, a lot of busy-ness with no apparent or definable end in sight.
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To embrace luck, you have to enhance your tolerance for ambiguity.
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The notion of the hero as outsider, as alien, is forget it, over, done with. It's not about being against society anymore. It's about standing there, holding something up. It's not pulling away.
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If you only do what you know and do it very, very well, chances are that you won't fail. You'll just stagnate, and your work will get less and less interesting, and that's failure by erosion
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There's an energy that comes through the release of tension that is laughter.
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We get into ruts when we run with the first idea that pops into our head, not the last one.
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In the end all collaborations are love stories.
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It was not until I had graduated from college that I made a professional commitment to it. Frankly, I didn't think it wise. I was my own interior parental force, and it's very difficult to justify a profession as a dancer.
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Optimism with some experience behind it is much more energizing than plain old experience with a certain degree of cynicism.
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I have not wanted to intimidate audiences. I have not wanted my dancing to be an elitist form. That doesn't mean I haven't wanted it to be excellent.
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Without passion, all the skill in the world won't lift you above craft.
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Whenever I feel I'm working in a groove it's invariably because I feel I am being the benefactor in the situation rather than the beneficiary. I am sharing my art with others, lending my craft to theirs, interest-free with no IOU.
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As people who have commitments and obligations, we try to blockade emotions and go on our course towards excellence, and that's a lie. I've definitely paid a price. Everything is an exchange.
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Our guys have a vision of something bigger.
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I think of music as fuel, its spectrum of energy governed by tempi, volume, and heart.
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