2021-09-10 13:48:23
На этой неделе в New Yorker вышло отличное интервью с 79-летней Твайлой и его, конечно, стоит разобрать на цитаты.
Для молодых зумеров, которым постоянно создают токсичные рабочие условия и которые вечно выгорают:
Do you feel like your mother had workaholic tendencies?
My parents were farm people, and farm people in the era were workaholics. That’s how you raised animals. That’s how you grew corn.
That’s how you didn’t die on a farm. You were a workaholic. You got up every day at four o’clock to milk the cows and to get the eggs in.
It’s not a workaholic. It’s what you do.Для тех кто думает, что им кто-то что-то должен принести на блюдечке:
Let me back up and say that one of the reasons that I did the PBS film was because we’re in a pandemic and because young people are going, “Oh, my goodness. How are we going to dance?” In the beginning, way back in 1965, nobody offered us an opportunity to dance. Nobody said, “Here’s the stage. Here are dancers. Here is money.”
We went out and did it. We figured out where abandoned buildings were that we could get into. Where are spaces? We danced in parks. We danced in malls. We danced in the subways.
О том, когда мы по-настоящему счастливы:
We knew at the time, it was the best years of our lives. Sara Rudner, who’s mentioned in the film, is one of my dearest, oldest, most special people in the whole world. We were in London, in our first world tour, in 1966. I just looked at her, and I said, “Sara, things are tough.” Nobody was making any money. We were sleeping in somebody’s basement. We were carrying the costumes and turning on the lights. I said, “Sara, these are the best years of our lives. We’re having the most fun.” She looked at me, and she said, "I know it.”
О том, что сначала стоит оглядеться вокруг, прежде чем заявлять, что ты звезда. Возможно, вокруг есть настоящие звёзды:
The career problem was as a choreographer. I was blessed to come into the city when Martha Graham was premièring, when Balanchine was premièring, when Paul Taylor was premièring, when Merce Cunningham was premièring. And these people had built careers, and I was coming in at the peak of their work.
And I’m looking at what’s going on and thinking, Damn, that’s good. So I didn’t really think of myself as a choreographer till after “The Fugue” (1970), which was five years in.
О том, что делать коммерческую работу зашкварно:
I’ve never had a problem with art existing and also making money, O.K.? I do not sell out to audiences.
I like to believe I make work that a lot of people enjoy. But I don’t do it for the purpose of making money.
I do it for community. I do it to communicate. And you can sometimes get somewhat paid for that service, which is a good thing. As every artist has ever understood, who has any validity at all in the real world, humor counts, longevity counts, a determination to reach out to people counts. You think Mozart didn’t love writing music? He loved writing music. He loved that you could enjoy it. Beethoven had a fabulous sense of humor. You would have enjoyed him.
Ещё там есть про то, как не влюбиться в Барышникова, как воспитывать одной ребёнка и строить творческую карьеру, как оставаться востребованной в 79... ну вы поняли. Must read.
https://www.newyorker.com/culture/the-new-yorker-interview/twyla-tharp-never-stops
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