"The rewards of dancing are very different from choreographing"
About this Quote
Tharp’s line lands like a quiet warning to anyone who thinks mastery in an art automatically translates upward into leadership. Dancing rewards the body: adrenaline, applause, the private satisfaction of nailing a phrase, the immediate feedback loop between effort and sensation. It’s visceral, social, and short-lived in the best way. Choreographing, by contrast, pays out slowly and often invisibly. The “reward” is structure: making meaning out of time, negotiating with egos, building a repeatable system that survives you. You trade the clean hit of performance for the messy, managerial grind of authorship.
The subtext is a dismantling of glamour. We romanticize the choreographer as the dancer who got promoted, when Tharp is pointing out that it’s a job change, not a level-up. One role is executed in the moment; the other is designed in advance, under uncertainty, with responsibility distributed across other people’s bodies. If dancing is about presence, choreographing is about control - and control comes with loneliness. The applause, when it arrives, attaches to the piece, not to the hours of revisions, the failed drafts, the diplomacy.
Contextually, Tharp is speaking from a career that straddles both sides: a performer’s rigor and a maker’s discipline across ballet and Broadway. The intent feels practical, almost pedagogical: don’t chase choreographing because you’re tired of dancing; chase it because you want a different kind of satisfaction - one rooted in craft, patience, and the willingness to be less seen while shaping what others will be seen doing.
The subtext is a dismantling of glamour. We romanticize the choreographer as the dancer who got promoted, when Tharp is pointing out that it’s a job change, not a level-up. One role is executed in the moment; the other is designed in advance, under uncertainty, with responsibility distributed across other people’s bodies. If dancing is about presence, choreographing is about control - and control comes with loneliness. The applause, when it arrives, attaches to the piece, not to the hours of revisions, the failed drafts, the diplomacy.
Contextually, Tharp is speaking from a career that straddles both sides: a performer’s rigor and a maker’s discipline across ballet and Broadway. The intent feels practical, almost pedagogical: don’t chase choreographing because you’re tired of dancing; chase it because you want a different kind of satisfaction - one rooted in craft, patience, and the willingness to be less seen while shaping what others will be seen doing.
Quote Details
| Topic | Art |
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