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

It's very difficult to justify a profession as a dancer.

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 irony of multitasking is that it's exhausting: when you're doing two or three things simultaneously, you use more energy than the sum of energy required to do each task independently. You're also cheating yourself because your're not doing anything excellently. You're compromising your virtuosity. In the words of T. S. Elliot, you're 'distracted from distractions by distractions'.

I have always felt one of the things dance should do - its business being so clearly physical - is challenge the culture's gender stereotypes.

I've always found it necessity to strip away everything but the most fundamental ways to work - the rest is style.

Art is an investigation.