Quotes of All Topics . Occasions . Authors
Dance should touch people.
I cannot stand unfairness.
Terrorism is not a small problem.
I work hard to make a gift to the audience.
Dancing pleases me. I hope I transmit that to others.
To be free on stage, you need to have been disciplined.
I am not a completely stubborn person. But I have views.
Some choreographers have been cautious about working with me.
I am stronger as a vegan than I ever was with meat and dairy.
I like creation even if the process is always a bit difficult.
Having limits to push against is how you find out what you can do.
At the Paris Opera Ballet, they were always making choices for me.
No one person can change the world, but one and one and one add up.
When I am on stage, I feel completely free and just want to let go.
I just don't like authority. I do like authority when I respect it.
The problems I had with the Paris Opera Ballet are a thing of the past.
My father had the curved feet, my mother the legs, so I am a bit of both.
I like creation even if it is a bit difficult. It is always very exciting.
Choreographers tend to treat ballet dancers like kids they can manipulate.
Working with a new style of choreography is always a period of adaptation.
If I am out in the street or buying bread or taking a taxi, no one knows who I am.
My reputation precedes me all the time, but I'm not the monster people think I am.
My body is very nice to me. I have a lucky physique - I just don't take weight on.
Technical perfection is insufficient. It is an orphan without the true soul of the dancer.
I never dreamt of becoming a ballerina. I was just curious about it, it was something to explore.
There is a false idea that I am stubborn and do only what I want, but really, I am like a sponge.
When a real artist creates something, it has to be a necessity, the only way he can say something.
If you start dancing too young, it can be torture. The bone is too soft, and it is going everywhere.
Oh, I could have done more. I refused a lot of ballets. I said, 'No way, no way I'm going to do that.'
I had never a thought of training to be a ballerina. I was a normal child. I never dreamed of the tutu.
People thought I had no feelings, that I was hard. But really, I was extremely sensitive to everything.
If we keep on destroying fish, there won't be any left. If the oceans die, we all die. It's as simple as that.
If you are afraid of losing something, then you are dependent on it. If you are not afraid, then you are free.
Fate is like a train. When it flies past, you can choose if you want to get on it or not, to say no or say yes.
Ballet is hard enough when you go with it; when you have to force your body to do things, it is so much harder.
I'm not the kind of person who is on television and in magazines every five minutes selling clothes or washing machines.
It's true I have a side of me that isn't very adult. I can get very emotional about things. I can become crazy, act the clown.
Between what I know I can do and want to achieve and what the audience expects, it's a lot of pressure, and it's always adding up.
When I was very young I was very shy but at the same time I was very open cause I was very curious so I wanted to try many things.
There's a picture of me as a little girl, and I'm waiting to go onstage, and I am biting the last bit of nail I have left on my finger.
I was afraid when I came to the Royal Ballet that it would be easy to have everyone walking all over me if I didn't stick up for myself.
'Romeo and Juliet,' 'Manon,' 'Giselle' - they are not stupid stories. They have fantastic characters. They have a big package of emotion.
I could have done a lot of things on TV, but I don't want to be recognised in the street. I'm not ready to feel that sort of embarrassment.
There are things I cannot do, costumes I cannot wear. When I have taken stands on things, it is because I have thought carefully about them.
I think the only regret I have is not to have opened my eyes sooner to aspects of life like the relationship of man with nature and animals.
I loved being at the Royal Ballet. Those choreographers, MacMillan and Ashton, they knew how to translate complicated life into choreography.
As a child, I was afraid of everything. My parents were shy, the kind of people for whom it is an ordeal to go and buy some bread or whatever.
I am only interested in being famous for my dancing. For me, the concept of the sacred monster is only about the stage - it is not about image.
A performance is like a boat. You really want it to arrive at port. So when something goes wrong and it doesn't get there, that touches me a lot.
Most producers who want you to dance are not looking at the long term. They see their evenings, the box office, whom they have to repay, whatever.