A Quote by Benjamin Millepied

I did grow up in France, and even though I didn't go to the school or dance with the Paris Opera Ballet, I absorbed similar ideas in my training. I understand the scale of a big company. I danced for one for almost 20 years.
The first time I took a plane to dance in front of an audience outside France was when I was in the Paris Opera Ballet School, and we flew to Japan.
I dreamt of becoming a ballet dancer. I studied with the Royal Academy of London for 11 years, and that did not pan out, but my love for being on stage was born there. And then, I actually went to drama school in Paris, France. That's where it first started.
I danced with the Ballet Russe in Paris when I was 16 and did not need a companion.
Ballet found me, I guess you could say. I was discovered by a teacher in middle school. I always danced my whole life. I never had any training, never was exposed to seeing dance, but I always had something inside of me. I would love to choreograph and dance around.
I went to Indiana University for college for a couple of years where I double majored in dance and journalism, and after my sophomore year there, I went to the San Francisco Ballet school for the summer, but then they offered me a scholarship to stay for the year. That's where I danced after the year they offered me a contract with the company.
I did 20 years in the Navy. I joined the Navy right out of high school and went through Navy boot camp, went to SEAL training, got done with that, and then showed up at a SEAL team, where I did 20 years. That was pretty much my whole adult life.
I didn't grow up imagining myself as an opera composer. Only once in my entire adolescence did I attend an opera. I went and saw Aida at the old Met, didn't understand a thing about it, and thought it was pretty awful. But I think I had it in my genes without even realising it.
I had classical training at London's Royal Ballet School, and my first job was with the Semperoper Dresden ballet company in Germany.
Ballet found me. I was discovered by a teacher in middle school. I always danced, my whole life. I never had any training, never was exposed to seeing dance, but I always had something inside of me.
I grew up going to see my sister dance, both at the ballet and later as a modern dancer, and have always been a big fan of the ballet. So I have had a long relationship with dance.
I'm the most Colombian of the Colombians, even though I've lived 47 years outside of Colombia. I've lived 13 years in New York, and I never did a painting about New York. I've lived in France more than 30 years, and I've never painted Paris.
Women, as well as men, in all ages and in all places, have danced on the earth, danced the life dance, danced joy, danced grief, danced despair, and danced hope. Literally and metaphorically, by their very lives.
She danced the dance of flames and fire, and the dance of swords and spears; she danced the dance of stars and the dance of space, and then she danced the dance of flowers in the wind.
The worst thing about me is my toes. I've thick joints from wearing pointe ballet shoes - I went to a dance school from the age of 11 and danced every day.
Ballet Hispanico is a mixture of ethnic, ballet, social, jazz - you name it, it's doing it. The company has been going strong for more than 20 years, and you can see why: It may not be refined, but it's full of beans.
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.
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