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-There he is.

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Oh, he has on
his yellow bandana.

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How handsome.

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Okay. So, Herman, let's talk
about what we're doing here.

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We want to start to find
what we call the heartbeat

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for the character
that you are.

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Okay.

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Can you transfer and fall
back in the air?

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Yes, you can.

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The world of dance closed down.

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The pandemic totally closed
the opportunities

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for dancers to work,
dances to get made,

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dances to get presented.

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Maybe I can connect a dancer

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with another dancer
through Zoom,

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and we can create
a single thing,

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and we can pull us together
even though we're miles apart.

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Dancers have to work every day.

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I have to work every day.

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How are we going to do this?

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-One thing you can always
expect from choreographer

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Twyla Tharp,
that is the unexpected.

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-Twyla Tharp has transformed
American dance

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as both a performer
and choreographer.

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Her work transcends traditional
definitions of the medium,

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combining elements
of ballet and modern dance.

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-Maria!

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How are you?
-I'm good.

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How are you?

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-Good morning, Benjamin.

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Would like to tell you
just a bit about this project.

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-Hi.

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-Misty! Girl!

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-Whenever I see Twyla's name
come up on my phone,

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I'm just like, I don't know
what to expect,

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but I know
it's going to be exciting.

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-Let's see if we can bring

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St. Petersburg
and L.A. together.

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People -- We can bring
people together.

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This is about introducing
the four main characters

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in a tale called
"The Princess and the Goblin."

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It's going to be a reduction
of the entire novel,

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less than three minutes,
in which the Princess Irene

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is going to go
into the underworld.

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That has a species of people

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that have been
in quarantine forever,

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and she is going to help them
find a way to be released.

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So, Maria, the character
that you are playing,

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her name is Irene.

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The girl is the hero.

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The character you are playing
is the Queen.

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-Oh.
-Ah, of course.

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The people who live
with you in the underworld

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are in quarantine.

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They've been in quarantine
for centuries, for epochs,

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and they, too,
would like to get out.

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How long have you been
in quarantine?

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I think I'm going into
my ninth week.

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We're making a piece in two
dimensions and four squares.

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We don't have a stage,
but we have a virtual platform.

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Let's get it on YouTube,
and let's share it with people.

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I had just graduated
from college,

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and I wanted space to work in

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'cause I was going
to be a dancer.

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There was a loft
on Franklin Street.

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I went downtown
and found the street,

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but not the building.

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There was a man seated
on the stoop.

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His name was Bob Huot.

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Said, "Are you looking
for a loft?"

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I said, "Yeah."
He said, "Okay, upstairs."

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That was on the fourth floor.

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I started up.
He was on the third floor.

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The rent on this floor
was 50 bucks a month.

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That sounded good to me.

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And there was nothing --
literally nothing --

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below Canal Street
but artists in these spaces,

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which were illegal.

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Became aware of other people
in the area

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who had lofts
and who were working

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and who were far more
established than I.

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I had graduated in art history,

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but these guys
were practicing art.

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That's very different.

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Suddenly, you're in front of,
you know, the guys

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who are going to determine
the history of American art.

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That's, "Whoa!"

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I was a kid.

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I didn't have any
tangible foundation.

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These people had
all done something.

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They were all moving on
from somewhere they had been.

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I was still looking
for a place to start.

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While I was still
at Barnard College,

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I had also been studying dance.

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I took ballet class
with your Igor Schwezoff.

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I was taking classes
at Cunningham Studio.

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I was taking classes
at the Graham Studio.

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Paul Taylor was in class.

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He was just starting a company,

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and I just managed to get
into one of his rehearsals.

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Marched in, sat on the floor
in the front of the room,

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he said, "Who are you?"
and I said, "My name is Twyla.

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I'm gonna be dancing here."

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He was so shocked,
he didn't throw me out.

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I was a very unpleasant
company member.

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I would have fired me
long before he did.

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I felt the work
was not challenging.

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I didn't feel he was
challenging himself.

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And I told him so.

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He just looked at me and said,

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"Well, maybe you better go out
and try trial by fire,

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and I said, "Okay."

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So, I would just try
to do a dance,

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which was called "Tank Dive."

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It was called "Tank Dive"
because I always said, "Okay.

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Your chances of becoming
successful are about the same

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as somebody jumping off
a hundred-foot pole

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into a thimble of water.
Good luck.

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We'll call it 'Tank Dive.'"

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I used no music in "Tank Dive"

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and for every piece during
the next five years.

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What I needed to learn was,

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"What could movement
communicate?"

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Not movement to music.

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Because if I do a phrase
to happy music,

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everybody would be happy.

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If I do the same phrase to sad,
they'll all be sad.

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What if I just do the phrase?

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What will they feel?

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-I gave myself stuff to do
that nobody else was doing.

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That was the point.

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And nobody else was standing
still on relevé

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for a minute and a half.

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It did what
it was supposed to do --

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it launched a career,
like the diving board

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00:07:21,579 --> 00:07:24,029
that you use to dive
down into the water.

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And then you got to
learn how to swim.

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The next piece, "Stride,"
was done in what would

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now be called
an alternative space,

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which was a rooftop in Brooklyn.

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I don't remember
how we snuck in.

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It must've been
over a fire escape or something

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to get in.

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I was not trying to make
the world's greatest dance.

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I was just trying to find
a starting place

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that had enough
substance to evolve.

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-Ah.
There you go.

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We're together now.

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Okay, guys, so here's
what we're going to do.

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-When the pandemic started,
I had no idea what to expect.

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I want to say I was surprised

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00:08:26,195 --> 00:08:27,783
that Twyla came callin',
but at the same time, I wasn't.

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-And three, and...

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-I've been working with her
for, I think, 22 years.

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There's never something
that could hold Twyla back

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from creating or working.

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It feeds her.

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It's something
that she has to do.

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-Herman, you remember,
you've been trying to sleep,

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but you've been woken up
because stone shoes here

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is stomping around
and keeping you awake,

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and you go over
to listen at the wall.

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You're going to go over
to downstage left,

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and you're going to pull him
through the wall.

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00:09:01,057 --> 00:09:03,612
Okay.
Yes.

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00:09:03,646 --> 00:09:07,098
That is a spatial difficulty.

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00:09:07,132 --> 00:09:08,858
-The way she approaches
choreography,

172
00:09:08,893 --> 00:09:10,722
it's not about the steps.

173
00:09:10,757 --> 00:09:12,137
It's more than that.

174
00:09:12,172 --> 00:09:14,726
-She's gonna yank you in to --

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That's it, right.

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00:09:15,934 --> 00:09:17,142
Good.
There, we got it.

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00:09:17,177 --> 00:09:18,385
-When she comes into a studio
and says,

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00:09:18,419 --> 00:09:20,387
"No, you do this
because of that,

179
00:09:20,421 --> 00:09:21,975
and because of that,
you do that,

180
00:09:22,009 --> 00:09:23,908
and then all of this
is combined,

181
00:09:23,942 --> 00:09:26,980
and this is the movement,"
and you're like, "Wow."

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And then you try
to do the movement like that,

183
00:09:28,395 --> 00:09:31,812
and it's so difficult.

184
00:09:31,847 --> 00:09:34,090
Like, she's not sitting
and telling you what to do.

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00:09:34,125 --> 00:09:37,266
Like, she stands up
and goes into the space

186
00:09:37,300 --> 00:09:39,717
and does it.

187
00:09:39,751 --> 00:09:41,270
And then you try to do it.

188
00:09:41,304 --> 00:09:42,823
And you're like,
"Oh, my back went out."

189
00:09:44,687 --> 00:09:46,102
-We're all trying
to keep up with her

190
00:09:46,137 --> 00:09:48,104
is the moral of the story.

191
00:09:48,139 --> 00:09:50,244
-I've just pulled him
through the wall.

192
00:09:50,279 --> 00:09:52,868
I'm gonna give him --
unh! -- a big yank,

193
00:09:52,902 --> 00:09:55,905
and I'm gonna take him
around the space,

194
00:09:55,940 --> 00:09:58,425
and I'm going
to throw him upstage.

195
00:09:58,459 --> 00:09:59,737
Make a little more work

196
00:09:59,771 --> 00:10:01,842
about leveraging
him around the corner.

197
00:10:01,877 --> 00:10:04,327
Make more movement for yourself
going through.

198
00:10:04,362 --> 00:10:05,363
That's it!

199
00:10:05,397 --> 00:10:06,329
Now give it a hoist.

200
00:10:06,364 --> 00:10:07,676
Good!

201
00:10:07,710 --> 00:10:10,195
Right.
Yes!

202
00:10:10,230 --> 00:10:12,266
-The idea was so new

203
00:10:12,301 --> 00:10:15,891
just in terms of, like,
entering into this new state,

204
00:10:15,925 --> 00:10:17,444
you know,
where everything's virtual,

205
00:10:17,478 --> 00:10:19,101
everything's on Zoom.

206
00:10:19,135 --> 00:10:22,207
And even in this stage
of her career, in her life,

207
00:10:22,242 --> 00:10:27,109
she's setting the standard
for where dance is evolving to.

208
00:10:32,183 --> 00:10:36,670
-I, early on, felt the need
to have companionship

209
00:10:36,705 --> 00:10:37,982
in the dancing

210
00:10:38,016 --> 00:10:40,191
and also counterpoint
in the dancing.

211
00:10:40,225 --> 00:10:42,055
That requires
more than yourself.

212
00:10:44,402 --> 00:10:46,749
We began as all women

213
00:10:46,784 --> 00:10:49,269
because we didn't want
to be told what to do.

214
00:10:51,961 --> 00:10:54,101
We work together
as women can work together,

215
00:10:54,136 --> 00:10:54,999
which is very tight.

216
00:10:55,033 --> 00:10:57,864
We put a man in,
the chemistry changes.

217
00:11:00,763 --> 00:11:04,215
The "Bunch of Broads,"
we called ourselves.

218
00:11:04,249 --> 00:11:06,942
But I worked hard to have
diversity, you might say,

219
00:11:06,976 --> 00:11:10,048
in the group,
both culturally diverse

220
00:11:10,083 --> 00:11:12,810
but also physically diverse.

221
00:11:12,844 --> 00:11:14,915
Graciela,
her movement is just huge.

222
00:11:14,950 --> 00:11:16,468
She could fling really wide.

223
00:11:16,503 --> 00:11:18,332
She was very, very strong.

224
00:11:18,367 --> 00:11:25,201
Sheela was amazingly fast --
small, compact, very rhythmic.

225
00:11:25,236 --> 00:11:27,169
Theresa was lanky
and a different

226
00:11:27,203 --> 00:11:29,136
kind of weight in her body.

227
00:11:32,450 --> 00:11:34,314
Rose was a classically
trained dancer.

228
00:11:34,348 --> 00:11:35,764
She was very large.

229
00:11:35,798 --> 00:11:37,800
She was almost
6 foot on point.

230
00:11:37,835 --> 00:11:40,182
She auditioned for
the New York City Ballet,

231
00:11:40,216 --> 00:11:43,737
but Balanchine thought
she was too tall.

232
00:11:43,772 --> 00:11:45,014
I didn't care how tall she was.

233
00:11:45,049 --> 00:11:46,222
She was a great dancer.

234
00:11:49,847 --> 00:11:52,125
Margery
was a true lyric dancer.

235
00:11:52,159 --> 00:11:54,368
There were no gaps
in her movement.

236
00:11:56,336 --> 00:11:57,544
Sara was just luscious.

237
00:11:57,578 --> 00:11:59,511
Sara was just great.
She was --

238
00:11:59,546 --> 00:12:01,928
Everything she did
was right all the time.

239
00:12:01,962 --> 00:12:04,068
She was a natural dancer.

240
00:12:04,102 --> 00:12:07,830
So we were
a well-balanced group.

241
00:12:07,865 --> 00:12:10,971
We had very little
rehearsal space.

242
00:12:11,006 --> 00:12:12,973
And in order to get
more work time,

243
00:12:13,008 --> 00:12:14,112
we just started
working in the park.

244
00:12:19,877 --> 00:12:21,948
I started thinking
about distances,

245
00:12:21,982 --> 00:12:24,157
and I started thinking about,
"Oh, somebody who's close,

246
00:12:24,191 --> 00:12:26,159
you do this kind of movement,
and you'll see it.

247
00:12:26,193 --> 00:12:27,816
But when they're 20 feet away,
you do that,

248
00:12:27,850 --> 00:12:28,713
you're not going to see that.

249
00:12:28,748 --> 00:12:30,266
You got to do
this kind of movement.

250
00:12:30,301 --> 00:12:32,061
And if they're 40 feet away,
and then if they're

251
00:12:32,096 --> 00:12:34,339
a hundred yards down there,
you got to do this."

252
00:12:48,181 --> 00:12:49,320
Here are all these people,

253
00:12:49,354 --> 00:12:51,253
they're having their lives,
they're walking around,

254
00:12:51,287 --> 00:12:53,324
they don't have to buy tickets
and sit down.

255
00:12:53,358 --> 00:12:58,916
You're interjecting
yourself into their reality.

256
00:12:58,950 --> 00:13:00,883
There were football games
going through us

257
00:13:00,918 --> 00:13:02,851
and horseback people,
and, you know,

258
00:13:02,885 --> 00:13:05,060
babies are squalling
and bicycles

259
00:13:05,094 --> 00:13:06,095
are going through the dance.

260
00:13:06,130 --> 00:13:08,373
And you're saying,
"Yeah, we're just the same

261
00:13:08,408 --> 00:13:09,961
as a bicycle or --

262
00:13:09,996 --> 00:13:12,619
We're just an element
in the park."

263
00:13:12,653 --> 00:13:15,139
That's not what
theatrical dance is.

264
00:13:15,173 --> 00:13:17,106
Theatrical dance is separated --

265
00:13:17,141 --> 00:13:20,213
here's the audience,
here's the event.

266
00:13:20,247 --> 00:13:22,146
We were merged.

267
00:13:33,916 --> 00:13:37,092
-And there was a very long,
slow adagio at the end

268
00:13:37,126 --> 00:13:38,472
that went on forever,

269
00:13:38,507 --> 00:13:40,198
and the sun
is setting behind it.

270
00:13:40,233 --> 00:13:41,855
And that's how
you knew it was over,

271
00:13:41,890 --> 00:13:43,305
because the energy
had run out.

272
00:13:49,207 --> 00:13:50,553
"Medley" had been seen

273
00:13:50,588 --> 00:13:54,350
by a curator
named Henry Geldzahler,

274
00:13:54,385 --> 00:13:58,907
who was assembling a show at
the Metropolitan Museum of Art.

275
00:13:58,941 --> 00:14:03,256
And he invited us to be included
in that show.

276
00:14:11,574 --> 00:14:14,267
He put dance in the middle
of painting and sculpture.

277
00:14:18,996 --> 00:14:21,377
We were doing work that,
you know,

278
00:14:21,412 --> 00:14:25,174
fit into spaces
that were not staged spaces.

279
00:14:25,209 --> 00:14:26,900
Stages were for
ballet companies.

280
00:14:26,935 --> 00:14:28,626
I was not in that tradition.

281
00:14:28,660 --> 00:14:31,111
I was in the tradition,
"Just get out there and do it."

282
00:14:50,613 --> 00:14:54,169
We had no obligations
other than to dance

283
00:14:54,203 --> 00:14:57,137
as well as we could dance.

284
00:15:00,140 --> 00:15:04,489
And that ended.

285
00:15:04,524 --> 00:15:09,011
Everybody began to need money.

286
00:15:09,046 --> 00:15:12,463
Sheela and Graciela's
green cards ran out,

287
00:15:12,497 --> 00:15:13,671
and they couldn't renew.

288
00:15:13,705 --> 00:15:15,984
Theresa got married
and moved away.

289
00:15:16,018 --> 00:15:18,607
Margery got married
and moved away.

290
00:15:18,641 --> 00:15:20,471
We couldn't earn an income.

291
00:15:20,505 --> 00:15:21,610
We couldn't develop a life.

292
00:15:21,644 --> 00:15:23,301
We didn't have a studio.

293
00:15:23,336 --> 00:15:25,303
I felt like we'd been building
something,

294
00:15:25,338 --> 00:15:28,168
but obviously a future
in dance at this point

295
00:15:28,203 --> 00:15:29,411
was out of the question.

296
00:15:29,445 --> 00:15:32,345
So I quit.

297
00:15:32,379 --> 00:15:35,589
There was nothing
more to be done.

298
00:15:35,624 --> 00:15:37,212
And I left New York.

299
00:15:43,011 --> 00:15:46,428
Okay, Misty, this was right on
the beginning of your one.

300
00:15:46,462 --> 00:15:49,431
And one, two, four.

301
00:15:51,122 --> 00:15:54,263
Two.

302
00:15:54,298 --> 00:15:57,197
Three.

303
00:15:57,232 --> 00:15:59,199
Four.

304
00:16:01,477 --> 00:16:04,066
And pull him across.

305
00:16:04,101 --> 00:16:05,792
And take him around.

306
00:16:05,826 --> 00:16:07,794
And give him a big push.

307
00:16:07,828 --> 00:16:09,451
Good. Thank you.

308
00:16:09,485 --> 00:16:11,384
Okay. That's the idea.

309
00:16:11,418 --> 00:16:15,526
I thought actually you were
one count late pulling him in.

310
00:16:15,560 --> 00:16:17,631
-Okay.
-What I don't know

311
00:16:17,666 --> 00:16:19,806
is whether you guys
have got a time lag.

312
00:16:19,840 --> 00:16:22,188
-Can we just count?
-Yes, totally.

313
00:16:22,222 --> 00:16:24,293
One.

314
00:16:24,328 --> 00:16:26,295
See? Stop. Stop.

315
00:16:26,330 --> 00:16:30,575
My one is one, one
before your one.

316
00:16:30,610 --> 00:16:32,163
No, I don't think it's us,
Misty.

317
00:16:32,198 --> 00:16:34,441
I think it is the connection.

318
00:16:34,476 --> 00:16:37,720
So, listen, guys, this
technology will make us crazy,

319
00:16:37,755 --> 00:16:40,482
but you know what?
We'll fight our way through it.

320
00:16:40,516 --> 00:16:44,796
There is a discipline to taking
a more restricted arena

321
00:16:44,831 --> 00:16:47,765
and learning lessons
and finding potential there,

322
00:16:47,799 --> 00:16:49,422
which is what the Zoom is.

323
00:16:49,456 --> 00:16:53,288
The zoom is very restrictive.

324
00:16:53,322 --> 00:16:54,841
I've always been my best tool.

325
00:16:54,875 --> 00:16:59,052
I work whenever and however
I need to

326
00:16:59,087 --> 00:17:00,467
so that
I've been able to evolve

327
00:17:00,502 --> 00:17:04,747
a lot of material on myself.

328
00:17:04,782 --> 00:17:07,474
Dances come from dancing.

329
00:17:07,509 --> 00:17:09,752
I don't make a dance.

330
00:17:09,787 --> 00:17:13,756
I dance, and then something
starts to make sense.

331
00:17:13,791 --> 00:17:15,689
A dance will evolve,

332
00:17:15,724 --> 00:17:18,313
if the idea is good enough.

333
00:17:20,522 --> 00:17:23,697
I try not to get emotional
about the past

334
00:17:23,732 --> 00:17:26,321
because you were so much younger
and the body

335
00:17:26,355 --> 00:17:28,461
was so much more malleable,

336
00:17:28,495 --> 00:17:30,359
and you just can't
allow yourself

337
00:17:30,394 --> 00:17:32,085
to go back there and feel that.

338
00:17:32,120 --> 00:17:34,605
So you have to go back there
and look at it

339
00:17:34,639 --> 00:17:36,883
for the lessons
that you can use.

340
00:17:43,165 --> 00:17:47,273
By 1970, I had married
Bob Huot,

341
00:17:47,307 --> 00:17:51,725
the gentleman on the stoop
at 104 Franklin Street.

342
00:17:51,760 --> 00:17:54,763
Bob Huot and I moved to a farm

343
00:17:54,797 --> 00:18:00,424
four hours north of the city
in order to start a family.

344
00:18:00,458 --> 00:18:03,910
I was pregnant.

345
00:18:03,944 --> 00:18:06,292
I started working
on the farmhouse.

346
00:18:06,326 --> 00:18:07,776
I started doing chores.

347
00:18:07,810 --> 00:18:11,331
But soon Rose came up
and then Sarah came

348
00:18:11,366 --> 00:18:13,437
because they didn't
want to stop dancing

349
00:18:13,471 --> 00:18:15,439
any more than I did.

350
00:18:15,473 --> 00:18:18,925
We're dancers.
You don't just stop dancing.

351
00:18:18,959 --> 00:18:24,379
We had been too embedded
in the work we were doing

352
00:18:24,413 --> 00:18:27,313
to just let it go.

353
00:18:27,347 --> 00:18:30,419
So soon we were working again
on a piece called "The Fugue."

354
00:18:33,215 --> 00:18:36,356
One, two, three, four, three,
boom, one, one, two, three,

355
00:18:36,391 --> 00:18:39,325
four, three, two, one, one, two,
three, four, three, two, one,

356
00:18:39,359 --> 00:18:41,844
one, two, three, four,

357
00:18:41,879 --> 00:18:43,639
one, two, three,
one, two, three, four,

358
00:18:43,674 --> 00:18:45,400
three, two, one,
one, two, three,

359
00:18:45,434 --> 00:18:47,609
four, five, six, seven, eight.

360
00:18:49,576 --> 00:18:52,614
I also had a studio
in the attic.

361
00:18:52,648 --> 00:18:54,823
And I was able there to set up

362
00:18:54,857 --> 00:18:57,308
a secondhand
Panasonic video deck

363
00:18:57,343 --> 00:18:59,414
that I had brought
from the city.

364
00:18:59,448 --> 00:19:02,934
And the project that I started
was to record movement

365
00:19:02,969 --> 00:19:08,181
that I could do at different
stages of the pregnancy safely.

366
00:19:08,216 --> 00:19:10,287
So, how does a body change?

367
00:19:10,321 --> 00:19:11,736
This was going to be
an opportunity

368
00:19:11,771 --> 00:19:13,911
to learn
some interesting lessons.

369
00:19:13,945 --> 00:19:15,568
There was no other way to do it.

370
00:19:18,364 --> 00:19:21,505
Bob, my husband, was not happy.

371
00:19:21,539 --> 00:19:26,475
He was not happy to have
his family life disrupted.

372
00:19:26,510 --> 00:19:31,411
And that time was being shared
between his family-to-be

373
00:19:31,446 --> 00:19:33,931
and the work
that was being done.

374
00:19:33,965 --> 00:19:38,004
I thought these two
could fit together.

375
00:19:38,038 --> 00:19:40,662
He felt they could not.

376
00:19:43,837 --> 00:19:46,702
Jesse was born.

377
00:19:46,737 --> 00:19:49,981
Then I went in a totally
different direction after that.

378
00:19:50,016 --> 00:19:51,880
I went back to New York.

379
00:19:51,914 --> 00:19:56,678
We changed course
to start developing

380
00:19:56,712 --> 00:19:59,370
a mode of engaging an audience

381
00:19:59,405 --> 00:20:00,682
that would pay the bills

382
00:20:00,716 --> 00:20:02,994
because now we had diapers
to buy.

383
00:20:05,031 --> 00:20:07,758
Jess was our companion,

384
00:20:07,792 --> 00:20:13,004
and Jess was a part of our lives
and part of our work.

385
00:20:13,039 --> 00:20:14,868
He'd be in there on the floor
crawling,

386
00:20:14,903 --> 00:20:17,837
and he was always in the studio
with us.

387
00:20:21,875 --> 00:20:24,533
-I was aware early
on that my parents

388
00:20:24,568 --> 00:20:28,468
were very different
than everybody else's parents.

389
00:20:28,503 --> 00:20:30,263
They believed in their art

390
00:20:30,298 --> 00:20:35,579
as being the primary focus
of their existence.

391
00:20:35,613 --> 00:20:40,377
Mom and Dad were on
very different wavelengths.

392
00:20:40,411 --> 00:20:43,069
-Bob and I were divorced.

393
00:20:43,103 --> 00:20:46,521
And he was on the farm.
I was working in New York.

394
00:20:48,937 --> 00:20:52,423
I became the sole breadwinner.

395
00:20:52,458 --> 00:20:55,288
And it was a change of heart

396
00:20:55,323 --> 00:20:58,360
that was an artistic change
of heart

397
00:20:58,395 --> 00:21:02,053
as well as
a romantic change of heart

398
00:21:02,088 --> 00:21:06,920
because I was no longer willing
to be in the avant garde.

399
00:21:06,955 --> 00:21:10,855
Now we were building dances
that were going to be performed

400
00:21:10,890 --> 00:21:12,857
for paying audiences.

401
00:21:12,892 --> 00:21:16,482
Up until this point, our
performances had all been free.

402
00:21:18,898 --> 00:21:20,865
We used to be,
in the avant garde,

403
00:21:20,900 --> 00:21:23,696
ragged hair hanging down
however,

404
00:21:23,730 --> 00:21:25,663
blue jeans are torn,
so on and so forth.

405
00:21:25,698 --> 00:21:28,459
We started realizing

406
00:21:28,494 --> 00:21:32,532
if we are going to become
a commercially viable entity,

407
00:21:32,567 --> 00:21:34,396
we have to put on a show.

408
00:21:34,431 --> 00:21:38,331
And it was suggested that our
hair needed to have attention.

409
00:21:38,366 --> 00:21:40,471
I would go and set the example.

410
00:21:40,506 --> 00:21:42,991
I went to Sassoon,
which was a big deal in dance

411
00:21:43,025 --> 00:21:45,373
because we all
did the bun-head thing

412
00:21:45,407 --> 00:21:46,891
or we had long hair or whatever.

413
00:21:46,926 --> 00:21:49,480
And I had this hair
that was flying around.

414
00:21:49,515 --> 00:21:52,414
We got costumes.

415
00:21:52,449 --> 00:21:58,144
"Eight Jelly Rolls" featured me
in a role as a silent clown.

416
00:22:04,944 --> 00:22:07,602
Those early pieces
were kind of tribute pieces

417
00:22:07,636 --> 00:22:09,120
to American theatrics.

418
00:22:11,675 --> 00:22:13,953
In vaudeville,
women did not do

419
00:22:13,987 --> 00:22:15,955
the stuff Buster Keaton did.

420
00:22:15,989 --> 00:22:17,784
So, I said, "Well,
I can do that stuff.

421
00:22:17,819 --> 00:22:19,614
"Okay, guys can do it,
I can do it.

422
00:22:19,648 --> 00:22:21,823
I can do a pratfall."

423
00:22:35,423 --> 00:22:38,978
I didn't want to be stopped
by any of the sort of clichés

424
00:22:39,012 --> 00:22:41,083
about what women could do
or couldn't do.

425
00:22:46,848 --> 00:22:48,574
And it was a sort of progression

426
00:22:48,608 --> 00:22:53,579
from austere, kind of in-silence
pieces to show-biz pieces.

427
00:22:56,961 --> 00:23:03,761
Show the folks a good time.

428
00:23:03,796 --> 00:23:05,522
-The pieces we do now
are nothing like

429
00:23:05,556 --> 00:23:08,145
the pieces we did then,

430
00:23:08,179 --> 00:23:11,631
but they're all rooted in the
same, you know, integrity

431
00:23:11,666 --> 00:23:13,875
and intelligence
and desire to work

432
00:23:13,909 --> 00:23:17,430
and find out what dancing is
and what we wanted to do.

433
00:23:17,465 --> 00:23:20,916
-I made the fastest, hardest
dancing I could think of.

434
00:23:20,951 --> 00:23:22,608
There are some
very literal gestures.

435
00:23:22,642 --> 00:23:26,059
I mean, for example,
the banjo solo that I do

436
00:23:26,094 --> 00:23:30,823
starts out with hitching a ride
down the street.

437
00:23:30,857 --> 00:23:33,688
How do you do?
I'm knocking off my foot.

438
00:23:33,722 --> 00:23:35,621
Oh, yeah, there it goes.
Oh, I see it. I see it.

439
00:23:35,655 --> 00:23:37,726
I still need a ride.
How are you?

440
00:23:37,761 --> 00:23:39,694
I'm washing my hands
of this whole mess.

441
00:23:39,728 --> 00:23:40,902
Oh, I hate you a lot.

442
00:23:40,936 --> 00:23:43,214
I'm bowing down here,
this cello.

443
00:23:43,249 --> 00:23:44,768
I am shooting craps.

444
00:23:44,802 --> 00:23:46,804
Shame on you.
You're a bad person.

445
00:23:46,839 --> 00:23:48,668
Traffic goes this way.
Hello out there.

446
00:23:48,703 --> 00:23:50,774
Again, I will polish the mirror,

447
00:23:50,808 --> 00:23:52,569
and then bouncing a basketball.

448
00:23:52,603 --> 00:23:55,779
And then this is my notion of
some Jewish something or other.

449
00:23:55,813 --> 00:23:57,988
And then we have this
black bottom number put in

450
00:23:58,022 --> 00:24:00,059
because it is called
"The Black Bottom Stomp."

451
00:24:00,093 --> 00:24:03,200
And then we go
to the knock-kneed sheriff,

452
00:24:03,234 --> 00:24:06,065
and the last
little dirty movement

453
00:24:06,099 --> 00:24:08,826
that we can put in before it
comes to fast diagonal.

454
00:24:08,861 --> 00:24:10,828
And that all happens
at this tempo.

455
00:24:10,863 --> 00:24:12,761
-One, two, two, two.

456
00:24:49,729 --> 00:24:51,662
Sara and Rose were the nucleus.

457
00:24:51,697 --> 00:24:53,802
We were all women.

458
00:24:53,837 --> 00:24:57,116
Then suddenly we got a man.

459
00:24:57,150 --> 00:25:00,533
Ken Rinker was
the first man with us,

460
00:25:00,568 --> 00:25:01,879
and he went into
"The Bix Pieces."

461
00:25:01,914 --> 00:25:05,642
Why?
Because he was really good.

462
00:25:05,676 --> 00:25:08,748
We had now grown to five.

463
00:25:08,783 --> 00:25:11,026
We had an administrator.

464
00:25:11,061 --> 00:25:12,683
We were called
Twyla Tharp Dance.

465
00:25:12,718 --> 00:25:15,272
We were a company.

466
00:25:15,306 --> 00:25:19,345
At one point, I had one of the
dancers do a phrase of movement

467
00:25:19,379 --> 00:25:21,312
in a sort of modern dancing
kind of way,

468
00:25:21,347 --> 00:25:23,970
and the other one is doing it
totally classically.

469
00:25:24,005 --> 00:25:27,077
It was that section that
Bob Joffrey saw.

470
00:25:27,111 --> 00:25:29,010
And Joffrey looked at it
and said, "Holy cow.

471
00:25:29,044 --> 00:25:30,701
She could make a ballet."

472
00:25:30,736 --> 00:25:32,876
So Joffrey came to me
after the "Bix"

473
00:25:32,910 --> 00:25:35,637
and said, "Would you make a
ballet for my company?"

474
00:25:35,672 --> 00:25:39,158
Ready?
And, ah, one, two,

475
00:25:39,192 --> 00:25:41,919
four, one.

476
00:25:41,954 --> 00:25:43,714
Four and one.

477
00:25:43,749 --> 00:25:45,613
I said, "Well, shall I start
with 'Swan Lake'?"

478
00:25:45,647 --> 00:25:47,269
And he nicely said,

479
00:25:47,304 --> 00:25:49,755
"No, I think it'd be good
to do something shorter first."

480
00:25:51,722 --> 00:25:54,760
So then I said, "Okay,
I will do a ballet,

481
00:25:54,794 --> 00:25:57,383
"but I need to bring
my dancers in as well

482
00:25:57,417 --> 00:25:59,937
"because I can't just
abandon them.

483
00:25:59,972 --> 00:26:02,699
"Sara and Rose here -- we've
been together for 10 years.

484
00:26:02,733 --> 00:26:05,287
Ken just came in.
You'll take us all."

485
00:26:05,322 --> 00:26:07,013
He agreed.

486
00:26:07,048 --> 00:26:09,982
"Okay, fine, it'll be
two companies working together."

487
00:26:10,016 --> 00:26:11,777
"It'll be a modern company
with a ballet company.

488
00:26:11,811 --> 00:26:13,675
That's fine. We'll do that."

489
00:26:13,710 --> 00:26:17,714
And I said, "And I think
I'll use The Beach Boys."

490
00:26:17,748 --> 00:26:20,302
This is a ballet company, right?

491
00:26:20,337 --> 00:26:21,821
We don't do The Beach --

492
00:26:21,856 --> 00:26:23,892
He did. He said, "Okay."

493
00:26:28,276 --> 00:26:31,935
-The Beach Boys is straight out,
hard-core pop music.

494
00:26:31,969 --> 00:26:34,178
And I put it
into the ballet world.

495
00:26:34,213 --> 00:26:37,319
And I'm sure that
the classicists, if you will --

496
00:26:37,354 --> 00:26:39,701
"Oh, my God. Can this be?"

497
00:26:39,736 --> 00:26:41,738
And I didn't think of it
from that point of view

498
00:26:41,772 --> 00:26:44,810
because I thought that
the Joffrey ballet audience

499
00:26:44,844 --> 00:26:48,745
wanted something with energy
and something that was fresh.

500
00:26:48,779 --> 00:26:52,300
And The Beach Boys
had a vitality

501
00:26:52,334 --> 00:26:55,027
and a "Let's get going here,"
you know?

502
00:26:55,061 --> 00:26:57,823
Like, all of their songs
are about motion.

503
00:27:04,277 --> 00:27:08,074
-When I was riding the subways
and was seeing the graffiti

504
00:27:08,109 --> 00:27:09,938
painted on the sides
of the subways --

505
00:27:09,973 --> 00:27:11,181
this was just happening.

506
00:27:11,215 --> 00:27:12,976
These guys were just coming out.

507
00:27:13,010 --> 00:27:15,081
I was like, "Whoa,
that is something else.

508
00:27:15,116 --> 00:27:16,911
We need that behind us."

509
00:27:16,945 --> 00:27:19,292
Because "Deuce Coupe"
turned out to be

510
00:27:19,327 --> 00:27:21,950
about the sort of spirit
and adventure of teenagers.

511
00:27:21,985 --> 00:27:24,884
And that seemed to me
the perfect background.

512
00:27:32,340 --> 00:27:35,343
-These guys -- they were
wanted by the police.

513
00:27:35,377 --> 00:27:36,965
We had to lock them up upstairs

514
00:27:37,000 --> 00:27:39,105
so that they wouldn't
get arrested between shows.

515
00:27:39,140 --> 00:27:40,969
They were outlaws.

516
00:27:47,907 --> 00:27:49,909
-When I started to work
in the Joffrey,

517
00:27:49,944 --> 00:27:52,740
for the men it was maybe
a bit challenging.

518
00:27:52,774 --> 00:27:55,121
They were not accustomed
to having women

519
00:27:55,156 --> 00:27:57,779
tell them what to do
or where to go.

520
00:27:57,814 --> 00:28:01,300
Two, three, four.
Oops!

521
00:28:01,334 --> 00:28:02,888
The men in his company

522
00:28:02,922 --> 00:28:05,787
really didn't want to hear
from a female choreographer.

523
00:28:05,822 --> 00:28:06,995
And a number of them
went to Bob Joffrey

524
00:28:07,030 --> 00:28:08,514
and said,
"We don't want to do this."

525
00:28:08,548 --> 00:28:09,549
And Bob said, "That's too bad.

526
00:28:09,584 --> 00:28:14,520
Get back in there and do it,
or you're fired."

527
00:28:14,554 --> 00:28:18,489
I learned from "Deuce Coupe and
from working with Bob Joffrey

528
00:28:18,524 --> 00:28:21,320
that I could do it.

529
00:28:21,354 --> 00:28:26,428
For a young person to have a man
with his experience,

530
00:28:26,463 --> 00:28:28,534
believed in my vision,

531
00:28:28,568 --> 00:28:30,363
said, "Okay, kid,
you can do this.

532
00:28:30,398 --> 00:28:32,227
You got a future."

533
00:28:32,262 --> 00:28:35,127
That made one very confident.

534
00:28:35,161 --> 00:28:38,924
If Bob Joffrey says
you can do it, go for it.

535
00:28:46,310 --> 00:28:50,452
The Zoom has been a window
into dancers

536
00:28:50,487 --> 00:28:53,283
that's very interesting
and very different

537
00:28:53,317 --> 00:28:54,456
because they're at home.

538
00:28:54,491 --> 00:28:56,355
-Hello, little petit.

539
00:28:56,389 --> 00:28:59,461
Oh, he's fast asleep,
and he's getting very large.

540
00:28:59,496 --> 00:29:02,326
Hi, Dad.
This is my son, Jesse.

541
00:29:02,361 --> 00:29:03,569
-Hello. Good morning.

542
00:29:03,603 --> 00:29:05,122
-You're coming into their home.

543
00:29:05,157 --> 00:29:09,126
You're coming into time
shared with them

544
00:29:09,161 --> 00:29:11,128
in a very different way.

545
00:29:11,163 --> 00:29:13,372
And you're working on --
I really appreciate it --

546
00:29:13,406 --> 00:29:15,098
through your dinner hour, right?

547
00:29:15,132 --> 00:29:19,102
Now, you begin
with one little step,

548
00:29:19,136 --> 00:29:24,141
one little beat to the front,
one little step sauté

549
00:29:24,176 --> 00:29:26,799
and a piqué arabesque.

550
00:29:29,250 --> 00:29:31,183
That's it.

551
00:29:38,155 --> 00:29:39,881
Good. Okay, good.

552
00:29:39,916 --> 00:29:42,090
Very nice, Maria.
Very, very nice.

553
00:29:42,125 --> 00:29:45,611
After you've done the mazurka
and the little bourrée,

554
00:29:45,645 --> 00:29:50,858
Curdie is going to be coming
in upstage left.

555
00:30:00,177 --> 00:30:01,869
Okay. Good.

556
00:30:01,903 --> 00:30:04,285
Alright. Good, Benjamin.
Very good.

557
00:30:04,319 --> 00:30:05,976
You need to be just a little bit

558
00:30:06,011 --> 00:30:08,185
more exaggerated
with your action.

559
00:30:08,220 --> 00:30:11,326
When the earth shakes, it needs
to be a little bit bigger.

560
00:30:11,361 --> 00:30:13,466
When she hits the ground,
it's gotta be,

561
00:30:13,501 --> 00:30:15,399
"Oh, what's happening here?"

562
00:30:15,434 --> 00:30:16,504
Do you know about me?

563
00:30:16,538 --> 00:30:18,230
I'll tell you all
about my history.

564
00:30:18,264 --> 00:30:20,646
I grew up working
in a drive-in theater

565
00:30:20,680 --> 00:30:24,615
from the time I was 8 years old
until I went to college.

566
00:30:24,650 --> 00:30:30,621
I saw probably 1,000 cartoons
as a young person.

567
00:30:30,656 --> 00:30:35,247
My entire world view is formed
on that kind of time

568
00:30:35,281 --> 00:30:37,145
and that kind of exaggeration.

569
00:30:40,424 --> 00:30:42,254
The family's Quaker.

570
00:30:42,288 --> 00:30:47,397
And they had stringent thoughts
about morality

571
00:30:47,431 --> 00:30:52,574
and about discipline
and responsibility.

572
00:30:52,609 --> 00:30:54,991
My mother was a concert pianist.

573
00:30:55,025 --> 00:30:57,165
She started teaching piano
when the war came

574
00:30:57,200 --> 00:30:58,926
in order to help support
the family.

575
00:30:58,960 --> 00:31:03,413
So she herself had never
accomplished as an artist

576
00:31:03,447 --> 00:31:04,552
what she wanted to.

577
00:31:04,586 --> 00:31:08,176
And she was never known
as an artist.

578
00:31:08,211 --> 00:31:12,180
She, from the get-go, planned
that this child of hers

579
00:31:12,215 --> 00:31:16,081
was going to accomplish that.

580
00:31:16,115 --> 00:31:19,670
Southern Indiana,
the community was very poor.

581
00:31:19,705 --> 00:31:23,571
And my mother determined
that her children

582
00:31:23,605 --> 00:31:27,609
were not going to get
the future she wanted for them.

583
00:31:27,644 --> 00:31:33,408
And she moved the family
to Southern California.

584
00:31:33,443 --> 00:31:38,689
She started all of her kids
on ear training

585
00:31:38,724 --> 00:31:40,519
when we were not
even a year old.

586
00:31:40,553 --> 00:31:43,004
By the time I was 2
I was already being taken

587
00:31:43,039 --> 00:31:45,420
to a professional
children's teacher.

588
00:31:45,455 --> 00:31:48,665
I was playing a children's
violin, small violin

589
00:31:48,699 --> 00:31:50,287
by the time I was 4.

590
00:31:50,322 --> 00:31:52,082
Whether it was dance or music

591
00:31:52,117 --> 00:31:57,225
or percussion or painting
or elocution or German,

592
00:31:57,260 --> 00:31:59,400
in case we had another war
with the Germans

593
00:31:59,434 --> 00:32:01,091
I should speak German,

594
00:32:01,126 --> 00:32:04,232
French because the ballet is
in French.

595
00:32:04,267 --> 00:32:05,509
We needed to speak French.

596
00:32:05,544 --> 00:32:07,684
Typing I can do very well.

597
00:32:07,718 --> 00:32:12,102
Shorthand I had
in case all else failed.

598
00:32:12,137 --> 00:32:14,311
My mother always went out
of her way

599
00:32:14,346 --> 00:32:17,245
to find the very best teachers
that she can find.

600
00:32:17,280 --> 00:32:19,972
She ended up driving
hundreds of miles every week

601
00:32:20,007 --> 00:32:22,216
to have ballet lessons.

602
00:32:22,250 --> 00:32:26,116
And I'm doing my homework
by the glove compartment light

603
00:32:26,151 --> 00:32:28,084
while we're driving
to San Marino,

604
00:32:28,118 --> 00:32:31,604
which is 120 miles round trip.

605
00:32:31,639 --> 00:32:35,229
She'd drive it twice
or three times a week.

606
00:32:35,263 --> 00:32:38,370
My brothers and sister
did have teenage years.

607
00:32:38,404 --> 00:32:40,096
They did go to dances.

608
00:32:40,130 --> 00:32:42,477
They were part of
the school activities.

609
00:32:42,512 --> 00:32:43,616
They did have cars.

610
00:32:43,651 --> 00:32:45,101
They learned to drive --

611
00:32:45,135 --> 00:32:46,999
none of these things that I do

612
00:32:47,034 --> 00:32:49,346
because I was much too busy

613
00:32:49,381 --> 00:32:53,143
being groomed
to become something.

614
00:32:53,178 --> 00:32:56,526
I do regret not having had
more interaction

615
00:32:56,560 --> 00:32:59,184
with young people my age.

616
00:32:59,218 --> 00:33:02,359
Feeling so isolated,
pulled away from everybody.

617
00:33:02,394 --> 00:33:04,706
How to relate to other people --

618
00:33:04,741 --> 00:33:06,501
I didn't have lessons in that.

619
00:33:06,536 --> 00:33:10,402
Sometimes I think my mom
gave me lessons

620
00:33:10,436 --> 00:33:14,268
in everything
that's possible in life

621
00:33:14,302 --> 00:33:16,304
except how to live life.

622
00:33:19,549 --> 00:33:22,103
Good morning, Maria.

623
00:33:22,138 --> 00:33:25,762
Maria, please meet Benjamin.
Benjamin, meet Maria.

624
00:33:25,796 --> 00:33:28,765
-Nice to meet you.
-Hello. Very nice to meet you.

625
00:33:28,799 --> 00:33:33,494
-One of the big challenges
of this whole project

626
00:33:33,528 --> 00:33:36,600
and what we're working
to do here

627
00:33:36,635 --> 00:33:41,743
is establish that people
who are as separate as we are

628
00:33:41,778 --> 00:33:43,814
can be connected.

629
00:33:43,849 --> 00:33:50,856
And so you have to make the
impossible theatrically real.

630
00:33:50,890 --> 00:33:53,376
Now, one thing
that's going to help us there

631
00:33:53,410 --> 00:33:55,619
is spatial accuracy.

632
00:34:00,417 --> 00:34:03,558
And go, Benjamin!

633
00:34:11,877 --> 00:34:14,707
Okay. Hold on. Thank you.
Yeah. Thatagirl.

634
00:34:14,742 --> 00:34:16,675
Back it off
to the edge of your hawk.

635
00:34:16,709 --> 00:34:19,298
Is she going to bow first,
or are you, Benjamin?

636
00:34:19,333 --> 00:34:21,680
Which would you say in this
kind of character role?

637
00:34:21,714 --> 00:34:23,095
-I should, I think.

638
00:34:23,130 --> 00:34:25,270
-Well, who do you think, Maria?

639
00:34:25,304 --> 00:34:27,134
-I think me.

640
00:34:27,168 --> 00:34:31,276
-She thinks her.
Why does Irene bow first?

641
00:34:31,310 --> 00:34:34,727
-Because she was taught
all of these manners

642
00:34:34,762 --> 00:34:37,868
and she's
a very well-behaved girl.

643
00:34:37,903 --> 00:34:39,663
I don't know.

644
00:34:39,698 --> 00:34:43,219
-And why did you think
he bowed first, Benjamin?

645
00:34:43,253 --> 00:34:46,291
-Well, because I'm the man.
He needs to show her...

646
00:34:46,325 --> 00:34:49,432
-There you are.
This is our culture.

647
00:34:49,466 --> 00:34:50,916
We live in it.

648
00:34:50,950 --> 00:34:56,404
MacDonald, the author, would say
that Curdie bows first

649
00:34:56,439 --> 00:35:00,753
because Curdie is lower class.

650
00:35:00,788 --> 00:35:02,307
She's upper-class.

651
00:35:02,341 --> 00:35:05,586
But I like Maria's instinct.

652
00:35:05,620 --> 00:35:09,935
She bows first because
she's an independent girl!

653
00:35:09,969 --> 00:35:12,213
See what I'm saying, right?

654
00:35:18,564 --> 00:35:20,256
Right on the heels
of "Deuce Coupe,"

655
00:35:20,290 --> 00:35:22,637
the Ballet Theater called
and said, you know,

656
00:35:22,672 --> 00:35:25,778
would I make a piece
for Baryshnikov?

657
00:35:28,816 --> 00:35:32,613
Baryshnikov was one of the
leading male classical dancers

658
00:35:32,647 --> 00:35:34,511
of the 20th century.

659
00:35:39,723 --> 00:35:41,415
The guy was phenomenal.

660
00:35:41,449 --> 00:35:45,936
His technique was like, "Wow!"

661
00:35:45,971 --> 00:35:49,975
He was a huge star in Russia,
and he'd just defected.

662
00:35:50,009 --> 00:35:52,840
And he hadn't performed
in this country yet.

663
00:35:52,874 --> 00:35:55,705
I remember running into
Alvin Ailey

664
00:35:55,739 --> 00:35:59,260
in one of the elevators
somewhere, some dance building,

665
00:35:59,295 --> 00:36:00,917
and Alvin just looked at me
and he said,

666
00:36:00,951 --> 00:36:03,402
"You're going to write
a piece for Baryshnikov.

667
00:36:03,437 --> 00:36:07,475
You're crazy.
You're going to be eaten alive."

668
00:36:07,510 --> 00:36:09,512
There was pressure.

669
00:36:09,546 --> 00:36:11,238
It was big deal
in the dance world.

670
00:36:11,272 --> 00:36:13,861
Here's arguably the greatest
dancer in the world.

671
00:36:13,895 --> 00:36:15,759
What are you going to do
with this guy?

672
00:36:18,452 --> 00:36:21,662
There are huge expectations
on the part of the audience

673
00:36:21,696 --> 00:36:25,010
as to what he should be
doing for them.

674
00:36:30,878 --> 00:36:33,639
He'd seen me dance before
we started to work,

675
00:36:33,674 --> 00:36:35,365
which I thought was important

676
00:36:35,400 --> 00:36:38,299
because that's what I was
going to push him towards.

677
00:36:38,334 --> 00:36:41,854
...a costume for "Swan Lake,"
so that would be good, too.

678
00:36:44,754 --> 00:36:49,655
I had to be able to evolve
for him a vocabulary

679
00:36:49,690 --> 00:36:51,485
that enfolded some of
this kind of --

680
00:36:51,519 --> 00:36:53,728
let's just, for lack of
a better word, call it slouch.

681
00:36:53,763 --> 00:36:55,523
It's a totally different
kind of placement

682
00:36:55,558 --> 00:36:57,387
from the classical ballet.

683
00:36:57,422 --> 00:37:00,632
And he was all-in
to try to do that.

684
00:37:08,018 --> 00:37:10,780
-Exactly.
-Okay. Exactly. Okay.

685
00:37:10,814 --> 00:37:12,506
-Was there any difficulty
that you had

686
00:37:12,540 --> 00:37:16,061
from adjusting from a classical
style to Twyla's style?

687
00:37:16,095 --> 00:37:19,478
-Sure, it was difficult,
very difficult, I think.

688
00:37:19,513 --> 00:37:22,378
-In what way?

689
00:37:22,412 --> 00:37:24,552
-Well, it's her style,
her ballet.

690
00:37:24,587 --> 00:37:26,727
It's really hard.

691
00:37:33,320 --> 00:37:35,770
-It's not easy, I think,

692
00:37:35,805 --> 00:37:40,913
for dancers who know
perfectly modern dance.

693
00:37:40,948 --> 00:37:42,881
Yeah?

694
00:37:42,915 --> 00:37:44,365
-Sometimes. No, that's right.

695
00:37:44,400 --> 00:37:47,368
-It's not, but it's --
Um, um...

696
00:37:47,403 --> 00:37:49,301
-What?
-I don't think that

697
00:37:49,336 --> 00:37:50,578
it's any easier or any harder

698
00:37:50,613 --> 00:37:51,821
for, you know,
a well-trained dancer

699
00:37:51,855 --> 00:37:53,926
who's either classical
or modern.

700
00:38:07,733 --> 00:38:09,356
Okay, let's do it this way.

701
00:38:09,390 --> 00:38:11,806
-This movement --
it's not natural for me

702
00:38:11,841 --> 00:38:14,499
because I'm born in Russia,
you know?

703
00:38:16,052 --> 00:38:18,434
-He actually
had just come to this country

704
00:38:18,468 --> 00:38:19,883
and he was displaced.

705
00:38:19,918 --> 00:38:22,921
He's Russian,
classically trained.

706
00:38:22,955 --> 00:38:25,579
I'm from the Midwest,
modern dancer.

707
00:38:25,613 --> 00:38:28,823
You could not have found
more disparate elements

708
00:38:28,858 --> 00:38:31,481
to try to gather together.

709
00:38:33,725 --> 00:38:35,589
I took a gamble,

710
00:38:35,623 --> 00:38:39,662
and I opened him
in a totally unexpected way,

711
00:38:39,696 --> 00:38:41,974
with him doing a kind of --

712
00:38:45,461 --> 00:38:47,083
And the audience is going,
"Huh?"

713
00:38:57,127 --> 00:39:00,096
And then when
the curtain goes up, whack!

714
00:39:01,718 --> 00:39:03,962
All he's got!

715
00:39:32,853 --> 00:39:34,820
"Push" was lightning
in a bottle.

716
00:39:34,855 --> 00:39:36,408
It was a moment in time.

717
00:39:36,443 --> 00:39:39,653
It could only have happened
between the two of us

718
00:39:39,687 --> 00:39:44,002
at that point in time, singular.

719
00:39:44,036 --> 00:39:47,730
I was asked to make a duet
for a gala with Misha.

720
00:39:47,764 --> 00:39:51,596
I had no experience partnering.

721
00:39:51,630 --> 00:39:53,494
-What are we doing?!

722
00:39:53,529 --> 00:39:55,151
-The same thing that we did
yesterday.

723
00:39:55,185 --> 00:39:57,705
-No.

724
00:40:00,018 --> 00:40:02,710
-Maybe it's possible
to just lay there,

725
00:40:02,745 --> 00:40:04,712
and you will be in position.

726
00:40:04,747 --> 00:40:06,196
-You're gonna do there?
-Yes.

727
00:40:06,231 --> 00:40:08,026
-You're gonna do nothing?
-Nothing.

728
00:40:13,203 --> 00:40:15,896
-Yeah, yeah, that's good.
I like that.

729
00:40:15,930 --> 00:40:18,070
-Oh, yeah. Oh, I like it.

730
00:40:18,105 --> 00:40:21,798
I love it. It's a good --

731
00:40:21,833 --> 00:40:23,524
-It's good, but it's...

732
00:40:23,559 --> 00:40:26,596
-Wonderful!

733
00:40:26,631 --> 00:40:29,634
The dynamic that I started
doing with partnering

734
00:40:29,668 --> 00:40:31,601
was I would partner
as much as he partnered.

735
00:40:31,636 --> 00:40:33,879
I would push, he would pull,
and so on.

736
00:40:33,914 --> 00:40:35,605
In the classical ballet,
traditionally,

737
00:40:35,640 --> 00:40:37,918
the woman is more passive,

738
00:40:37,952 --> 00:40:40,058
and I started doing
equal pressure.

739
00:40:40,092 --> 00:40:43,026
And that's what we actually
started working on.

740
00:40:43,061 --> 00:40:44,959
Ah!
-Sorry.

741
00:40:44,994 --> 00:40:47,617
-Oh, my God.
-Sorry.

742
00:40:47,652 --> 00:40:52,726
-I'm very grateful to Misha
that he made the moves

743
00:40:52,760 --> 00:40:54,762
to alter his life completely

744
00:40:54,797 --> 00:40:58,145
so that I could have the
opportunity to work with him.

745
00:42:45,217 --> 00:42:47,185
-During the course of my career,

746
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