"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… — 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 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… — Lucinda Childs Copy Share Image
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
