Top 30 Quotes & Sayings by Ninette de Valois

Explore popular quotes and sayings by an Irish dancer Ninette de Valois.
Last updated on December 22, 2024.
Ninette de Valois

Dame Ninette de Valois was an Irish-born British dancer, teacher, choreographer, and director of classical ballet. Most notably, she danced professionally with Serge Diaghilev's Ballets Russes, later establishing the Royal Ballet, one of the foremost ballet companies of the 20th century and one of the leading ballet companies in the world. She also established the Royal Ballet School and the touring company which became the Birmingham Royal Ballet. She is widely regarded as one of the most influential figures in the history of ballet and as the "godmother" of English and Irish ballet.

So it takes years to make a solid company.
And then you have the classical ballerinas, they're like sopranos. Applied to the dance.
You can't stop what comes into a country, you can be influenced, but you can't stop it, you shouldn't, because it makes all the others interesting, we all get muddled up together, and produce something that belongs to everyone.
Somebody must always be doing something new, or life would get very dull. — © Ninette de Valois
Somebody must always be doing something new, or life would get very dull.
Oh yes, technique has definitely advanced. But you never advance without losing something en passant, and you lose it because you're paying so much attention to the new thing.
There would never have been a British Ballet without Diaghilev. He had a wonderful influence.
God gave us all exactly the same fingers, arms, legs, and feet, but in our different countries we divided them all a little differently as we feel it, do you understand?
There's nothing in the world that isn't good, bad, and indifferent.
Hardly any generation wants to take the whole of the last generation, it just wants to take its best bits.
Also, if you have an accident, you can't start to dance again at the top, you're too weak; you start with the easy things - the way you did them when you were young, and come up up up, the way you did then.
The best way to study is to go to the Cecchetti method for about a year and draw onto all the highest points and then put that into the general method.
Exactly the same with dancing, you can't dance until you've learnt steps, the things your feet can do.
All the children in the school should learn the steps of everything, before they learn the thing, then they know which step they're doing better, because your voice is in certain steps and has to do most of the things that have been composed in those steps.
As time goes on, all schools only get left alive if they have found something special themselves.
Well, I mean, we are developing the other parts, and we can't give quite all our attention to the upper part, but soon the lower parts will be developed, and the upper part and the lower part will become partners, that will be wonderful.
It's either not good enough and dies altogether, or it develops.
Oh yes, after the war, and we were all starving - we had no proper food or anything - no proper shoes.
Nearly everything in life goes in threes and fours.
First of all, the most important, that is to learn everything good that has survived from other times, and carefully to watch the bad - and throw it out.
Classical ballet will never die.
Nothing is done easily, first have the thing, then the thing has a success, then all sorts of difficulties arise through the success.
It is a fact that all the ballet's fundamental dance steps are derived from the folk dances of Western Europe.
The smile is the dance of the face - the dance is the smile of the limbs.
Diaghilev was the first to notice good character dancers and that sort of thing. — © Ninette de Valois
Diaghilev was the first to notice good character dancers and that sort of thing.
You cannot create genius. All you can do is nurture it.
There would never have been a British Ballet without Diaghilev. He had a wonderful influence
We are developing the other parts, and we can't give quite all our attention to the upper part, but soon the lower parts will be developed, and the upper part and the lower part will become partners, that will be wonderful.
You never advance without losing something en passant... you lose it because you're paying so much attention to the new thing.
No no, we ALL teach each other, whether it's dancing, whether it's singing, whether it's talking, we all listen to each other. That's progress.
You can't dance until you've learnt steps, the things your feet can do.
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