Finis: What countries have you performed in?

Take: Brazil, Chile, Russia, China, Indonesia, Thailand, Singapore, New Zealand, India, France, England, Scotland, Italy, Spain, Sweden, Denmark, Norway, Switzerland, Portugal, and Germany.

Finis: You're a lucky guy!

Take: Yes, I was so fortunate to be able to witness so many different life styles, and meet so many new people everywhere we went. It was a tremendous education. By the way, I think I've danced in almost every state in America.

Finis: Were there any special places that stand out in your memory?

Take: We had a one week season at The Paris Opera, and that was very special, being in France, dancing for that enthusiastic audience that kept on applauding, plus the great food and wine. Hawaii was so beautiful, being right on the beach. The audience wasn't especially good, but the beaches and food were great. The same with Rio de Janeiro. So beautiful. I'd say the best tour was India, because I always wanted to go there. It's such a totally different experience. There is so much poverty, and the Caste system, which made me realize how lucky I am, to be able to live comfortably and have the freedom to do what I want to do. India is such an amazing experience.

Finis: I was there for seven weeks with The Joffrey Ballet, before you were born, in 1962, and the images of India are still vivid.

Take: India has to be the highlight of all my touring. I can never forget it!

Finis: Did you ever have any times during your performing when you didn't feel good about what you were doing?

Take: Sometimes it's hard to dance the same piece over and over again, but I never get upset or "down." I think I've always been positive, even though it becomes difficult to stay "fresh." I think I can do some of the pieces with my eyes closed, meaning I've done them so many times. That's the hardest part, keeping yourself fresh.

Finis: What do you do to refresh yourself?

Take: I look for new inspiration. I visit museums, listen to music, read, see films and live performances. That usually inspires me and gets me back up, ready to start again.

Finis: I also should let the reader know that dancing Taylor means very quick, muscular, weighted movement, as well as lots of extremely difficult partnering. Tell us about this.

Take: Paul doesn't like us to feel comfortable. He pushes the envelope, always asking us to go to extremes. He wants us to use muscles, to feel the use of them. We are constantly spiraling, and being reminded that movement comes from your back. "Use your back, and drop your weight" - that's what Paul always says.

Finis: He also wants you to twist your jumps, and move quickly.

Take: It's very fast! Making big explosive movements, and then doing something very small and quick.

Finis: What about the partnering?

Take: It's very difficult, because sometimes a woman is held up and never touches the floor for several minutes. A lot of choreography was done at the time when Paul had extremely tall and well-built men and very small and petite women. Nowadays, the sizes are less extreme, and so the weight load is very different.

Finis: The look of the Taylor men is very muscled.

Take: Yes, you have to protect your body while doing this work.

Finis: So, do you go to the gym?

Take: Some of the dancers do, I don't. I swim. Everyone has different bodies, different muscles, so we each have our own special exercises that keep us in condition.

Finis: You all do such extremely athletic, almost violent movements. What about injuries?

Take: I had so many injuries. I had a sprained ankle more than five times! I've had back problems since I joined the Company. I have tendonitis in the shoulder. My pelvis isn't square any more.

Finis: Is this pretty much the same case for the other dancers as well?

Take: Yes, it seems that almost every male dancer in our company has a shoulder injury. One of the difficulties of our job is simply maintaining your body. There doesn't seem to be time enough when you're performing, rehearsing, traveling, and just living. 24 hours goes by so quickly!

Finis: Is that why you are leaving the Company?

Take: No. In the last few years, I've been questioning what I've been doing. As I mentioned earlier, it's difficult to keep doing what for the most part is the same thing; the same dances. It's hard to stay fresh. I feel a need to be my own boss, to create my own stuff.

Finis: So you want to choreograph and have a company?

Take: Yes, I want to choreograph. I don't know about a company. But I've been choreographing for the past two years, and I love it. I'm trying to find my own voice, and that has the most meaning for me right now. It makes me very, very happy. Discovering my own voice makes me feel alive.

Finis: That's what everyone wants!

Take: It's very challenging, too. All the responsibility is mine.

Finis: Do you have lots of ideas?

Take: I feel like I'm a pregnant woman.

Finis: Well then you shouldn't have any trouble. It's amazing how many choreographers don't seem to have a single original idea.

Take: The ideas want to come out right away. Since I've decided to choreograph, I now watch dance very differently. I don't really look at steps any more. Now I see the negative space, the whole stage picture. Why is that dancer over there? What color do I see? I've never painted, but it feels like that's what I'm doing. I even walk down the street differently; I'm always observing how people behave, and making mental notes. These days, I'm much more interested in nature, and investigating my ancestry and heritage. When I'm in Japan, I always visit the Rock Garden in Kyoto, which is very simple, very quiet, and very powerful. It is very Japanese, and very meaningful to me.

Finis: What have you learned from Paul?

Take: I've learned a lot. I watch Paul's eyes all the time. His eyes are very special. He's a "watcher." He's always observing what's going on around him. He's always looking and learning. There is always a reason, or a relationship, between the dancers, the music, and the stage space. What I don't like about a lot of new choreography is that it's so predictable; you can see a dancer preparing to do something. Sometimes it looks like it's only about steps. Each dancer is just doing his own thing. What I like about Paul is that it's so unpredictable; you don't know what's coming. I watch Balanchine, and you don't know what's coming next. That's what I like, dance that is full of surprises. Also it's very human; it can go straight to your heart. And, in the end, it can make you feel so good.

Finis: The first time I saw Sunset, and one of the soldiers, on his knee, gently put the woman's skirt to his face, the tears started coming. Paul Taylor is the master of gesture. He knows the human condition.

Take: He always says, "simple is best." You know, Paul sometimes injures himself while choreographing. He gets so involved! I think it's great - not that he gets injured, but that he throws himself into the moment - almost like kids playing, they believe in what they're doing. I think that Paul does the same thing; he's not trying to impress anyone, he's just doing something he honestly believes in and wants to do.

The first piece that Paul created on me was Eventide, and that was a totally new experience. It wasn't simply dancing, or simply acting. Actually, it involved lots of walking. I had never had had such an experience. It almost made me cry. It touched on parts of my own life. Paul made even the simplest actions so emotionally powerful. Of course, the music, by Vaughan Williams gave me Goosebumps all the time. You know, Paul has been called a genius many times, but working him on that piece confirmed it for me. The past eight years with Paul have changed my life. It's been a totally amazing experience.

Finis: You're leaving the Company at the end of the year. What are your plans?

Take: I'm going to choreograph, and try to teach in Japan. I want to share everything I've learned with young dancers. And, I'm still going to dance, my own work, when I'm ready.

Finis: We'll be waiting - I'm sure you'll have lots of wonderful surprises for us. Thanks, Take!