Twyla Tharp

And that's that I think is a good thing.

I mean, there's no point in just saying, oh, we'll work whenever you get here and, you know, bring whatever.

Whatever is not my favorite word.

So choices get made and a schedule gets done.

And ordinarily, again, it depends on what the project is.

But if it's let's just give as much range here as possible, if it's me making a new piece, I will set a schedule.

Dancers come in.

They will have done class.

themselves.

They will come warm, okay?

That is not a part of my day.

I have my own work to do in preparing for that rehearsal, but in also maintaining my own physical instrument to the degree that I can, because the more I can bring into the studio, the more I can give them, and the more I can expect them to bring in.

So I have

tandem path going on here with the dancers and we meet up we join and I usually will come with a certain preset sense of where we're going with this thing and then see how it actually works in real time and real space which is a very useful and tough mistress and eliminates a lot of fantasy very quickly

I do.

Well, that's actually not true.

In a way, they do.

The dancers that I work with, I obviously audition, but I also screen from the perspective of who wants to work with me.

Who's going to come and say, yeah, I'll go through that wall.

Is that what we're doing?