Paul Taylor was a swimmer first and considers himself a "hick," having grown up without exposure to the arts. He discusses the physical pain of being a professional dancer, his love of movement, and stage fright.
Taylor begins choreographing a new dance with practical considerations such as budget and time limitations. He forms a rough mental outline, but most of the choreography happens in studio collaborations with dancers. A person's walk reveals their character.
Taylor explains the importance of stylizing movement for the stage. He discusses communicating ideas to theater goers, such as in the anti-war dance "Banquet of Vultures."
Taylor considers his relationship to his dancers a benign dictatorship; company morale must be high to perform well. He recruits dancers through open auditions and the Paul Taylor School. He can tell their personality types by watching them walk.
Taylor reflects on successes and near financial failures during his company's career. Devoted dancers, skilled staff members and generous donors have helped keep it afloat.
Taylor believes it is important to reach a broader audience; sports reporters have given the company some of its best reviews. He was grateful to retire from performing to focus on choreography; he never felt comfortable on stage.
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In this 2007 interview, dancer and choreographer Paul Taylor talks to Jeffrey Brown about his career.
Length: 24 minutes
Copyright date: ©2007
Prices include public performance rights.
Not available to Home Video and Publisher customers.
Only available in USA and Canada.
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