Zitat des Tages über Choreografie / Choreography:
I danced with Jacques d'Amboise. At that time, he was the tallest man in the company. So it was a different kind of choreography. It was lyrical.
Once you have the pattern of life of this person, the choreography, so to speak, you have the canvas that you present eight times a week, not without feeling underneath it, but it's not as churning as the discovery process was.
I had certain physical limitations that made me change the choreography for myself or made me more interested in choreography only rather than dancing. I have never been a person who wanted to just dance. I have always been interested in developing for other people.
Conductors must give unmistakable and suggestive signals to the orchestra - not choreography to the audience.
Choreography is mentally draining, but there's a pleasure in getting into the studio with the dancers and the music.
Fight choreography has far more in common with dance choreography than it does with actual martial arts. You learn martial arts techniques, but those are just the movements for the choreography. You're working with a partner in choreography. You're working on timing.
Maybe because I come from choreography, I've always felt that there's something about action films that made it very natural for me to go that way. It's story through movement.
I've been designing since I was 8. I started sketching dresses I could wear when skating. I was always involved in all aspects of skating, not just the technique, the choreography, the music, but the visual aspects, too - what I should wear.
My philosophy on choreography is that the making of a ballet is a team effort, and we're in this together. It's not me hammering on them. It's more about how we can elevate this piece collectively to something great.
When you shoot a musical, you're shooting to lipsynch tracks, so we had to figure out our choreography and work out what we wanted to do with each number before we did it.
Dance has helped me with everything. It was a great foundation for discipline, hard work and, unfortunately, the ever-elusive idea of perfection. It lends itself easily to fight choreography, because that's what it really is. Choreography. And knowing how to move with someone.
Basically it starts with four months of training, just basic stretching, kicking and punching. Then you come to the choreography and getting ready to put the dance together.
I had always choreographed a little, beginning in high school. And I leaned toward choreography. I always had an overview of what was going on.
I wish I could blame it on the choreography, but it's not a musical. I just had a clumsy moment.
I watched 'Fame,' and I just love the choreography. It just gives me a place to be in another zone.
I've been very physical my whole life. I went out hiking and camping for days in the Australian forest, and when I trained at drama school for three years, we did a whole lot on stage-fighting techniques. And I was a dancer from 5 to 18, so I have a memory for choreography.
I've just been learning how to direct my own videos, choreography, doing costumes... every creative opportunity there is with my music I've taken.
You'd have to go all the way back to 1972 to find a version of me who didn't care about theater, who didn't read Playbill and watch the Tony Awards, or get why Bob Fosse's choreography was so groundbreaking that all you need to say is 'Fosse hands' and theater people know what you mean.
I had actually been on tour in Japan and I had my own world tour that I was doing. I was used to doing a show for an hour, so I was always learning choreography.
Astaire never thought of what he was doing as balletic, but Kelly was always trying to dance with women on points. And his choreography is so showy and flashy. He always looks self-satisfied to me.
Without my husband's costumes I wouldn't have known how to accomplish what I saw in my own mind's eyes for choreography. And then seeing our choreography and knowing the background of it I am sure helped my husband a great deal with what he designed for us.
Yes, Carl Vine stuck around. He's now number one composer for choreography.
I always thought martial arts was the most modern choreography we could have right now, and I always wanted to put it to music.
It's weird when you see pieces of choreography that were done for you 15 or 20 years ago and now they are being done by another dance company.
I tell my workshop students, 'I want you to think of yourselves as artists. Then, when you're writing, you're painting, you're crafting, you're making a design, you're sculpting, you're creating choreography, sound, a sound script.'
I consider myself kind of a reporter - one who uses words that are more like music and that have a choreography. I never think of myself as a poet; I just get up and write.
Choreography is amazing. I'm still a dancer, yet I transitioned into choreography then as a Creative Director. All of these creative elements are brought out of being a dancer. Directing is something that comes out of understanding movement and choreography. Directing movement is directing a dance piece.
The chance to work on Broadway choreography as opposed to having to deliver Broadway choreography can be two distinct things.
Idol has pretty much taken me out of my recording and out of my choreography. I have managed to slip in some choreography jobs. And I've been writing songs for other artists.
The costumes had to serve the choreography.
The good part is once I start directing, I can choose the songs I want to do. I'm just selective now when it comes to choreography.
I kind of lost interest in the classical dance. I was very much interested in the modern choreography.
Then came the choreography... the impact of music and choreography tends to really emphasize an overall feeling of what you really want out of the program.
Dancing is just like racing. You don't learn choreography. They just give you steps to do, and you do them over and over and over. It's very much like what I do in racing.
War is chaotic and when you start having a larger scale film and you have a lot of safety protocols and choreography, I would imagine it becomes more difficult.
I've done some movies before when you have months, or three weeks at least, to train and to learn choreography.
