I do everything I know how in a dance.

Skill is how you close the gap between what you can see in your mind's eye and what you can produce; the more skill you have, the more sophisticated and accomplished your ideas can be. With absolute skill comes absolute confidence.

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.

It's vital to establish some rituals-automatic but decisive patterns of behavior-at the beginning of the creative process, when you are most at peril of turning back, chickening out, giving up, or going the wrong way.

In the end, there is no ideal condition for creativity. What works for one person is useless for another. The only criterion is this: Make it easy on yourself. Find a working environment where the prospect of wrestling with your muse doesn't scare you, doesn't shut you down. It should make you want to be there, and once you find it, stick with it. To get the creative habit, you need a working environment that's habit-forming. All preferred working states, no matter how eccentric, have one thing in common: When you enter into them, they compel you to get started.

The great ones never take fundamentals for granted.

The ballet needs to tell its own story in such a way it can be received without having to be translated into language.