Also, I had a facility for musical phrasing. Dancers who are just 'square' will never squeeze the dynamics out of the music and build up to any sort of climax. My fun in having survived the same daily classes for ten years at the school was that I could play with the phrasing of any given step.
. . . . Later on I had a vocabulary I could choose from when doing a certain role. I would experiment with the musical phrasing and, in that way, I could color the steps as well as the character I was portraying. I could actually make the steps fit the character.
Erik Bruhn, Danseur Noble by John Gruen. 1979. Page 24.
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