Classical ballet will never die.— Ninette de Valois
Most Powerful Classical Ballet quotations
A classic is a book that has never been finished saying what it has to say.
Dance every performance as if it were your last.
Even the ears must dance.
I can always invent movement, and sometimes it can be fitted into the right place, but that is not choreography. It is the music that dictates the whole shape of the work. I do not believe in the permanence of anything in ballet save the purely classical.
Dancing is poetry with arms and legs.
Every teacher will tell you that you cannot dance classical technique with perfection, there is no such thing, there is no way. So you have to adapt the technique to your abilities or to your deficiencies. Learn to cheat!
I'm a classical ballet dancer, and at the end of the day I want to be with American Ballet Theater, performing classical ballets.
I went to the Performing Arts School and studied classical ballet.
That attitude is something that's put into your head. You are never thin enough.
I think that I'm so fortunate to have found classical ballet.
It completely changed my life and it shaped the person that I am today, on and off the stage.
I grew up with classical music when I was a ballet dancer.
Now when I have to prepare an emotional scene, to cry or whatever, I listen to sonatas. Vivaldi and stuff. It's just beautiful to me.
The vocabulary and manner of classical ballet express a high order of discipline and restraint, a sense of harmony with forces larger and more lasting than the individual.
My Mom is a ballet director, so I had this idea in me that classical training is the best foundation for anything you do, so I wanted to get a classical background and voice.
I wanted to give people - which is fairly bizarre considering my whole life is contemporary dance really - I wanted to give people a really fulfilling sense that they had seen a white classical ballet - in a very pure form.
I think classical ballet dancers dance on pointe because they're simultaneously touching the earth and reaching up to the skies
My background is somewhat unusual, as I trained to be a ballet dancer.
I worked in the theatre for eight or nine years as a contemporary dancer. But as an actor one does read Shakespeare and does try to learn the classics.
If Balanchine had any secret, it was one that has endured through two hundred years of classical ballet. It is that dancing correctly in three dimensions, on the music, creates the fourth dimension of meaning.
Being a former dancer, classical dancer, it informed me as a human being just in terms of the grace I guess. Ballet is a very graceful form of art. You also become very aware of your body and your mind and your body is working in conjunction. That kind of helps you in acting as well. It's not only using your mind, it's like making your mind communicate this character into your body so that you can bring it to life and physicalize it.
Having Alexei Ratmansky create a new Romeo and Juliet for The National Ballet of Canada to mark our 60th anniversary is a dream come true. His aesthetic -- steeped in the Russian school but open to contemporary sources -- is ideal for this work and for our company, which, with our classical heritage and our passion for the modern, is perfectly suited to his distinctive dance vision.
I'm very flower-like. I love classical music. I go to ballet and I cry. There's nothing so beautiful.
Russian culture is multifaceted and diverse.
So if you want to understand, to feel Russia, then of course you need to read books, Tolstoy and Chekhov and Gogol and others. Listen to music. Tchaikovsky. Watch our classical ballet. But the most important thing is that you need to talk with people.
Yeah, unfortunately [ films like Miss Julie are a dying breed].
And that is sad, because we need these. Like we need books, we need classical music, we need ballet, we need opera, to remind us really of who we are and why we are, and we need in movie houses - even to be in a movie - where you sit and see not only excitement and man-hero, woman-hero, you need quietly, just like that Hawking movie we talked about, to know how people overcome.
I grew up as a dancer, and music and dance are so closely tied, that in ballet class you're listening to all this classical music, and in modern class you're working with a live drummer. It was something that always made me feel really comfortable and I've had a connection to since the beginning.
I grew up as a dancer. I did tap, classical ballet, all of that. I did Indian dancing, or Bharata Natyam, classic temple dancing from Madras, originally. My mother always had the great idea that I should learn it.
I know a lot of choreographers prefer to do abstract dance and not be bothered with a story, but even when I'm asked to do classical ballet or a modern piece, I still want to tell a story.
In the world of classical ballet there are only a handful of story ballets, so getting a new one is cause for excitement.
I would like to tell all dancers to forget themselves and the desire for self display. They must become completely absorbed in the dance. Even in a classical variation there should never be any thought of a dancer doing a variation--he should become identified with it.
Do you know what I've learned? That although ecstasy is the ability to stand outside yourself, dance is a way of rising up into space, of discovering new dimensions while still remaining in touch with your body. When you dance, the spiritual world and the real world manage to coexist quite happily. I think classical ballet dancers dance on pointe because they're simultaneously touching the earth and reaching up to the skies.
The best gift I was ever given was the arts.
My mum gave me those on a silver platter. Growing up, her and my grandmother would take me to ballets, classical concerts, even smoky jazz clubs I wasn't supposed to be in!