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Article Excerpt
At eighteen years of age, I had already been a member of the New York City Ballet for three years and had just been made a principal dancer. While performing at the ballet company's home, the City Center of Music and Drama on 56th Street in New York City, I developed a system that I believe has maximized and improved the quality of my performances.
Early in the morning or on my days off, I sit in the empty auditorium, gazing at the stage. I am envisioning a variation from my repertoire, imagining, in detail, first how I will look in costume, then how I will enter the stage and from which wing. As if watching a movie, I then dance the variation in my mind the very best that I can, or even better--the leaps a foot higher, the space covered double what I have done in the past. I picture the...
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