The relationship between the audience and the dancers goes through many different stages. Someone seeing my work for the first time may or may not pick up on that. — Lucinda Childs Copy Share Image
I no longer need to have what I see as the surface of the dance so connected to the underlying structure. — Lucinda Childs Copy Share Image
I disagree with the idea that modern dancers are cold or unemotional. — Lucinda Childs Copy Share Image
"Light Over Water" is the longest piece I have ever composed. It is a landmark in my personal struggle to create large forms. I feel that it is by and large a formally successful work, though I was constrained to write a piece at least fifty minutes long, and there are some dead spots in the music where I think… — Lucinda Childs Copy Share
If the simple positions of ballet are demonstrated straight on, they seem quite dull and lifeless, but when put on a diagonal, they begin… — Lucinda Childs Copy Share Image
I do not like a haphazard connection between the dances and the music. — Lucinda Childs Copy Share Image
The relationship between the audience and the dancers goes through many different stages. Someone seeing my work for the first time may or may… — Lucinda Childs Copy Share Image
I do not like to be thought of as avant-garde or some kind of didactic artist. — Lucinda Childs Copy Share Image
The diagonal gives a three-dimensional feeling to dancers that cannot be achieved when they are only front and back. On the diagonal, more movement… — Lucinda Childs Copy Share Image
I am just a choreographer, and I am trying to make productions, not dance concerts. — Lucinda Childs Copy Share Image
I like large sounds and very complex sonorities, and I also tend to opt for creating a feeling of vast space. I could achieve… — Lucinda Childs Copy Share Image
I use geometric and mathematical ideas to organize material, but those are tools. The purpose of the work is not to expose that at… — Lucinda Childs Copy Share Image
