And it is always Easter Sunday at the New York City Ballet. It is always coming back to life. Not even coming back to life - it lives in the constant present.
Does any art have a practical value? People love to talk about how expensive a painting is. That's the only way we can talk about paintings in this century.
I mean New York City is the financial capital of the world. It's where all the money passes through, the Dow Jones, whatever, that's where all the money goes.
I think that every year that the New York City Ballet is alive is worthy of celebration. Because otherwise the terrible thing is just that we take it for granted.
The ballet makes us look at those bodies, it makes us listen to that music, it makes us wonder at the geometry, of the way they come together. The way that extraordinary space is controlled and given such emotional force.
The life of a dancer is tragically short. What is remarkable about the New York City Ballet is that it makes us forget that. Because it keeps the ballet alive.
The New York City Ballet is always about the realm of possibilities, the realm of what the human body can do, what the human spirit can do. And it's about listening, it's about listening to remarkable music and how we respond to that.
What we're dealt with hopefully is two arms, two eyes, two legs, a head, a heart. The variations, the extensions, the possibilities of the human body, what that can do.
