Dancers and writers often talk of Balanchine's stress on speed, speed and clarity. But my sense of his true priority, of what he is working for, is different. The word I'd give it is energy. Energy can be fast or slow, but, what Balanchine is demanding is that all parts of the dancing body be energized. There are no dead or resting limbs. Everything is active. Someone can be speedy and quick and still be dead. Speed in itself is not the point, although it is required. In adagio, Balanchine asks for energy that is slow, slow but intense, and full. Whenever you move your arm or your legs, you are saying this is my arm, these are my legs, and I am putting them there.
Far from Denmark by Peter Martins. 1982. Page 91.
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