The dancer, or dancers, must transform the stage for the audience as well as for themselves into an autonomous, complete, virtual realm, and all motions into a play of visible forces in unbroken, virtual time...Both space and time, as perceptible factors, disappear almost entirely in the dance illusion.

It is significant that people who refuse to tell their children fairytales do not fear that the children will believe in princes and princesses, but that they will believe in witches and bogeys.

Real thinking is possible only in the light of genuine language, no matter how limited, how primitive.

common sense is a very tricky instrument; it is as deceptive as it is indispensable.

We have no physical model of this endless rhythm of individuation and involvement, we do have its image in the world of art, most purely in dance.

Feeling, in the broad sense of whatever is felt in any way, as sensory stimulus or inward tension, pain, emotion or intent, is the mark of mentality.

All persistent practices in art have a creative function. They may serve several ends, but the chief one is the shaping of the work.