In order that our art may arrive at the degree of the sublime which I demand and hope for, it is imperative for dancers to divide their time and studies between the mind and the body, and that both become the object of their application; but, unfortunately, all is given to the latter and nothing to the former. The legs are rarely guided by the brain, and, since intelligence and taste do not reside in the feet, one often goes astray.

It is not a question of skimming the surface of the art, it must be probed to its depths, for to seize upon superficial things only is to degenerate into mediocrity and obscurity.

I cannot avoid condemning all those who, from self-conceit have the pretension to imitate great artists of the past. If their powers of emotion be weak, their powers of expression will be likewise.

I will make an average man into an average dancer, provided he be passably well made. I will teach him how to move his arms and legs, to turn his head. I will give him steadiness, brilliancy and speed; but I cannot endow him with that fire and intelligence, those graces and that expression of feeling which is the soul of true pantomime.

In order to dance well, nothing is so important as the turning outwards of the thigh; and nothing is so natural to men as the contrary position.

This art, born of genius and good taste, can become beautiful and varied to an infinite degree.

I know that applause is food for the arts, but it ceases to be wholesome if administered indiscriminately; and the nutrition is so rich that, far from strengthening the constitution, it disturbs and enfeebles it. Stage beginners are similar to those children totally spoiled by the blind affection of their parents.