A Quote by Cyd Charisse

I danced with the Ballet Russe in Paris when I was 16 and did not need a companion. — © Cyd Charisse
I danced with the Ballet Russe in Paris when I was 16 and did not need a companion.
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.
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.
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.
I've never danced professionally as a ballet dancer, but all of my training is ballet, and I am a Fosse dancer.
Of course I was always mad about the ballet russe, mad about it!
My mother danced; she loved the ballet.
I grew up in the theater and danced ballet atrociously.
I've danced since I was 5 and went to the School of American Ballet at Lincoln Center at 7.
From the time I was 16, I wanted to live in Paris. When I graduated college and didn't have a job, I went to take the LSAT because I didn't know what else to do. I walked out in the middle of the test and eventually found an internship in Paris at L'Oreal.
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 actually quit ballet when I was offered a job, an apprenticeship at North Carolina Dance Theater Company, run by John Pierre Bonnefoux and Patricia McBride, who are my idols. Everything sort of went perfectly. I was 16, and I was about to drop out of high school and become a professional ballet dancer.
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 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.
I wanted to be a dancer from when I was about nine or something like that and started ballet. I used to really like it and got into it and did it full time for a couple of years. I did a lot of ballet but I traded that in for acting when I was about 15.
To handle paint the way Pollock did, you need the muscularity of a ballet dancer.
My mom tried to get me on ballet. 'Walter Payton did it! Walter Payton did it!' I'm just not messing with ballet.
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