Quotes of All Topics . Occasions . Authors
I had seen the ballet of 'Swan Lake' as a child but it was as an adult, when I saw a production featuring Erik Bruhn, that I first noticed how significant a part the ever-present threat of violence played. This juxtaposition of great beauty and grace with a backdrop of pure evil stayed with me for years.
Twyla's works are complex, and they really push you as an athlete and push you spiritually as well. Before doing a Twyla ballet, you have to get everything in order: You have to get a good night's sleep, you have to eat well, you have to be in great shape, and then you just go and leave it all out there.
If you have to tell a story without speaking, it's sort of like - I come from a dance background, so it's like a ballet where you have to tell a story with just your body. I think that's really interesting to have to tell a story with just your face and your mannerisms, and I'd like to tap into that world.
Fifth positions, heads, musicality, energy. Not technical things so much-getting your leg higher or doing more turns but things that would set you apart from other dancers. The only way you can be different is to be yourself if you don't find your spirit and reveal it, you just look like every other dancer.
From the time I made my announcement that I was going to be an actor, I auditioned for community theater, did shows at Greenbrier, interned at the Cleveland Play House for a summer, took voice lessons, took ballet lessons. I did everything that Cleveland allowed me to do - everything that was available to me.
Look at where I lived! Four blocks from Lincoln Center. I used to play in the fountain. And then I started taking dance lessons. I was in 'The Nutcracker' for the N.Y. City Ballet when I was 8 and dancing in 'The Firebird' for George Balanchine when I was 9. Believe me, that's something you don't ever forget.
I remember playing with some friends and being aware that I was acting as I was playing with them - I would think of a character and pretend to be someone else. My parents also took me to ballet school, and there I think I was able to start communicating those feelings or emotions - I danced for so many years.
I didn't really know anything about Margot Fonteyn. I'd never really been a ballet child, so I had no idea what an incredibly huge icon she was, not just in terms of a creative icon - she was also a style icon. I had no idea she was up there with Audrey Hepburn and Jackie Onassis in terms of that kind of image.
In 1998, Vanity Fair asked me to write a big piece for them on the 50th anniversary of the New York City Ballet. My life, to a great extent, had been spent at and with the New York City Ballet, and I decided to try it. It was very scary, writing about something I loved so much and had such strong opinions about.
My first mentor and inspiration was my Irish Dancing teacher Patricia Mulholland. She created her own form of dance known as Irish ballet and created stage productions of old Irish myths and legends. They were my first experiences on stage. She told my mum I was destined for the stage, and I took that as my cue.
It's a normal part of the culture of ballet to go to a nutritionist in your first few weeks. They write down everything you eat and use a little roller that pinches you to measure the fat all over your body. Then, every semester, you get a letter saying either you're too thin, or you're OK, or you're overweight.
I was so invested in ballet, and it was my entire life. And then it was realizing that I didn't want it to be my entire life forever. And then it was this very specific life, and I wanted to learn about other things. So I modeled to fill the time because dancing was very much a job, even when I was 14 years old.
And then he danced,-all foreigners excel the serious Angels in the eloquence of pantomime;-he danced, I say, right well, with emphasis, and a'so with good sense-a thing in footing indispensable: he danced without theatrical pretence, not like a ballet-master in the van of his drill'd nymphs, but like a gentleman.
Throughout my childhood, I did a form of Irish dancing that was kind of the precursor to 'Riverdance.' It was a mixture of ballet and Irish dancing that my teacher, Patricia Mulholland, had invented, essentially. It was Irish ballet, and she would create performances based around the myths and legends of Ireland.
If they opened things up and I could build a luxury condominium in Vedado, I would sell them in two hours here in Miami. Cubans in Miami would be the first to buy. In Miami, 80 percent of the people we sell to are foreigners. Havana is a city very similar to Miami... There's good music, good theater, good ballet.
I think my mom put me in tap classes when I was three, which I never pursued. I don't know how to tap. Then we moved to Portugal when I was five, and, I think, she put me in ballet classes immediately. Then I was expelled for being too restless - I am too high energy - and was told I could go do rhythm gymnastics.
I started dancing when I was five, and I trained intensively as a competitive dancer up until the end of high school. I did all genres, and later on a did a lot of extra ballet on top of that. I actually got accepted to Julliard for dance during my senior year, but I ultimately turned it down to come to L.A. to act.
I had danced with Janet Jackson and P. Diddy so I had done a bunch of hip hop. Really and truly my roots are in modern and ballet but, professionally, that's not really out there any more, unfortunately, so these artists aren't really having a lot of ballet dancers behind them so I had to learn hip hop really quick.
Although we do come from a silent profession, it is important for us to verbalize what we want to say. (As I tell my students): you could love someone all your life, but if you never say it how are they going to know? There comes a point when you have to say what you mean, which makes you scream louder when you dance.
Ballet in September used to be dead as a dodo. Now, with City Ballet's ingenious decision to give us four weeks of repertory in the early fall, having cut down on the relentlessly long spring season when dancers, critics and audiences droop on the vine, we wake up after the dog days of August with something to look at.
I started ballet in my early 20s. I studied for about ten years. Ballet is probably the one of the hardest things I've done, almost like MMA. People don't give it a lot of credit and think it's easy, but it's very difficult. For an athlete, you use muscles you really don't use, and ballet is something I really respect.
I was a daughterless mother. I had nowhere to put the things a mother places on her daughter. The nail polish I used to paint our toenails hardened. Our favorite videos gathered dust. Her small apron was in a box in the attic. Her shoes - the sparkly ones, the leopard rain boots, the ballet slippers - stood in a corner.
For a long time everyone had a stereotype of ballet that it was easy and that we were just prancing around. But thanks to the Internet, and being able to share live performances and broadcast them to the world so that everyone can experience the ballet, I think it's inspiring people we wouldn't normally be able to reach.
Look at a football field. It looks like a big movie screen. This is theatre. Football combines the strategy of chess. It's part ballet. It's part battleground, part playground. We clarify, amplify and glorify the game with our footage, the narration and that music, and in the end create an inspirational piece of footage.
Obviously, something like ballet, you have music, you dance with the music and it's a very direct connection. With visual art, when there's no music that accompanies the art, such as great masterworks in a museum, you wind up interpreting what the artist is doing, how the artist made that work and what they're conveying.
I've learned that there are many people out there who want to feel powerful and strong on their own terms, who want to tune out the noise and the punishing nature of grueling workouts. With 'Ballet Beautiful,' we have peeled back the mystery of ballet and allowed people to do these workouts anywhere and in their own time.
When I was 16, I moved to Torrance, California to train at a more advanced studio, and by 19, I joined the American Ballet Theatre in New York. It all happened so fast - it was pretty unheard of that someone could train for so few years and become a professional at one of the most elite dance companies in the United States.
Mr. Balanchine was a great gentleman, and he loved his dancers. He was devoted to his company. He came to the ballet every night, and his presence was felt. It was like the whole company was dancing for him. And if he liked you, he trusted you to be yourself. He didn't try to change you and make you into something you were not.
I've been interested in art and fashion for as long as I can remember because they are so visual. I am fascinated by the idea of visual creation from the ground up, which is a challenge in ballet when the audience has seen every show of yours, every other principal that you've shared a role with, and every different production.
I have learned a great deal from the theatrical side of Covent Garden. The Paris Opera Ballet is more concerned with technique. It's perfect. It's beautiful. It's well done. But it lacks the theatrical tradition that is so important in England. At the Royal Ballet, absolutely everyone on stage seems to be caught up in the plot.
I was a ballet dancer. I did other kinds of dance but ballet was my great love. But then it became clear, when I was 12, that my body wasn't going to be right. That's always a heartbreaking moment because there's nothing you can do about that. Your body is just not right. You don't have enough turnout. You're not built properly.
I have always loved fashion because it's a great way to express your mood. And I'm definitely a shoe lover. The right pair of shoes can change the feel of an outfit, and even change how a woman feels about herself. A woman can wear confidence on her feet with a high stiletto, or slip into weekend comfort with a soft ballet flat.
Misty Copeland is making history. During American Ballet Theatre's current season at the Metropolitan Opera House, Copeland will alight on that storied Lincoln Center stage, making her New York debut as the Swan Queen in the iconic masterpiece Swan Lake - a crowning achievement for any dancer, regardless of the color of her skin.
I launched Ballet Beautiful not long after finishing at Columbia and met Natalie Portman shortly after. We began training and preparing her for her role in 'Black Swan.' From there, I continued to build and expand the method itself along with the business, always looking for ways to share the workout with others around the world.
In the Royal Ballet Company, there was a Japanese principal dancer, and onstage and in ballet, they have colorblind castings - so I did see Asian dancers, and they were always my favorite. When you have someone who looks like you, it's something you can kind of grab onto, and it makes you feel better about your place in the world.
When you do one more 'Cinderella' or whatever, what is there to learn? Every part in the repertoire has a good side and a bad side, and the more often you do the same ballet, the more often the bad side comes out. If you want to give dance life, you must give it fresh food, not keep going back to the garbage to look for old scraps.
Edgar Degas's famous sculpture, 'Little Dancer Aged Fourteen,' served as my muse for 'The Painted Girls.' I came upon a television documentary on the work, and as someone who held the sculpture in high esteem and who largely considered ballet to be the high-minded pursuit of privileged young girls, I was struck by what I would learn.
I began dancing when I was 7 years old. I was told that I had the perfect ballet dancer's body and had these crazy high arches in my feet that resulted in an amazing point. Ballet was very disciplined and, frankly, a little boring, so I eventually transitioned to gymnastics. I loved that, although I never reached a competitive level.
Three months before he died, I began to steal things from my father's house. I wandered around barefoot and slipped objects into my pockets. I took blush, toothpaste, two chipped finger bowls in celadon blue, a bottle of nail polish, a pair of worn patent-leather ballet slippers, and four faded white pillowcases the color of old teeth.
Melissa Barak, an ex-City Ballet dancer and sometime choreographer, has put together an unspeakably dopey and incompetent mess called 'Call Me Ben,' combining ultra-generic dance, terrible dialogue and disastrous storytelling, about the founding of Las Vegas by the gangster Bugsy Siegel, who insists, violently, on being addressed as 'Ben.'
Like most citizens of popular and international urban centres, I don't take advantage of the cultural opportunities. Perhaps this comes from growing up in suburbia. Home is where you eat, sleep, read, watch television and ignore your parents. It is not where you go to the ballet and then attend a heated panel discussion about it afterwards.
So many people report to be contemporary dancers, and they're not. They are sort of jazz dancers that feel like they're throwing a bit of classical in there. I mean, a true contemporary dancer has got ballet as their base and classical ballet, and that is their base. And then they choose to extemporize on that and go into a contemporary world.
The future of ballet is really in the hands of the creators, so if it's something that interests them to push the envelope with gender roles, then I think it will change. But if that's not of interest to a dance-maker, if their interest is to sort of preserve the way things have been done for the past 200 years, then nothing is going to change.
I like graceful and elegant partnering that gives an illusion of ease instead of emphasizing difficulty. I don't want to make something 'contemporary' or 'trendy,' because ballet doesn't progress on one track: it can branch out in many directions, and as Balanchine showed, there's always room for pure classicism and more subtle alterations of it.
I am not an educated person. I didn't come up through a ballet company. I came up through burlesque. So I have a lot of inferiority feelings concerning my own lack of education, my entry into show business. I'm not a Baryshnikov. I'm not a Nureyev. I came up in vaudeville. Strippers. So I've always had these feelings. But I think they've also helped me.
I should never conclude were I to speak to you of all the misfortunes which have their origin in the faulty carriage of the body. All these defects, mortifying for those who have contracted them, cannot be remedied except in their early stages. A habit born in childhood is strengthened in youth, becomes deeply rooted in adulthood and is incurable in old age.
A dancer, more than any other human being, dies two deaths: the first, the physical when the powerfully trained body will no longer respond as you would wish. After all, I choreographed for myself. I never choreographed what I could not do. I changed steps in Medea and other ballets to accommodate the change. But I knew. And it haunted me. I only wanted to dance.
Just as a child, before I ever knew what ballet was, there was something in me where I was always searching for something structured, something that was bigger than me, and something so historical that I could be a part of. I didn't find that until I stepped into the ballet world, and it was overwhelming, the feeling of being a part of something that's bigger than you.
There were some parts of the film [Swiss Army Man] that the Daniels [Kwan and Scheinert] really wanted to look as elegant as a piece of ballet. As Hank and Manny go on in the story, they get better and better at being with each other and more and more adept - Hank knows more and more what Manny's going to need at any given point, and having that choreography helps a bit.
At our theaters we only see feeble copies of the copies that have proceeded them, renounce that slavish routine which keeps your art in its infancy; examine everything relative to the development of talents; be original; form a style for yourselves based on your private studies; if you must copy, imitate nature, it is a noble model and never misleads those who follow it.