A Quote by Justin Peck

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.
Grace is in a great measure a natural gift; elegance implies cultivation; or something of more artificial character. A rustic, uneducated girl may be graceful, but an elegant woman must be accomplished and well trained. It is the same with things as with persons; we talk of a graceful tree, but of an elegant house or other building. Animals may be graceful, but they cannot be elegant. The movements of a kitten or a young fawn are full of grace; but to call them "elegant" animals would be absurd.
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.
What is illusion? M.: To whom is the illusion? Find it out. Then illusion will vanish. Generally people want to know about illusion and do not examine to whom it is. It is foolish. Illusion is outside and unknown. But the seeker is considered to be known and is inside. Find out what is immediate, intimate, instead of trying to find out what is distant and unknown.
I realize how much ballet gave me, and because of ballet, I’m known as a graceful gymnast.
Dancing for the length of time that I did, it centered me in such a way to be really in tune with my body, and I just feel like I'm physically able to do things because of my ballet background. Without ballet, I don't think I'd look graceful at all on screen.
I just start with a pencil and paper. I don't want something too trendy, too fashion-forward. I don't want to make something I consider a regular person couldn't wear with blue jeans. But I don't want to make something that other people make, either - like a skinny black suit in a shiny material that you can buy anywhere.
When we make films - even 2D films - you're always trying to create this illusion of 3D, anyway. You're trying to create a believable world with characters walking, in and out of the perspective, to create the illusion that there's a world. The desire and drive to create this illusion of three-dimensional space is something that is true about every kind of film because you want the audience to really be experiencing it, first hand. It's a natural extension of the storytelling and the process of filmmaking.
I prefer owning something and partnering with other people, instead of like joining something.
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.
The more you fail, the more you succeed. It is only when everything is lost and - instead of giving up - you go on, that you experience the momentary prospect of some slight progress. Suddenly you have the feeling - be it an illusion or not - that something new has opened up.
I find it very annoying that so many animal advocates talk about the difficulty of being vegan. Many animal advocates are inclined to make the issue their suffering and not the animals' suffering, and I suppose that accounts for part of the reason that veganism is portrayed as such a "sacrifice." And many animal advocates are not vegans, or are "flexible vegans," which means that they do not observe veganism at all or not consistently, and emphasizing the supposed difficulty of veganism is part of justifying their own behavior.
Perpetual pushing and assurance put a difficulty out of countenance and make a seeming difficulty gives way.
The contemporary programs in London are harder and much more damaging for the body. With classical ballet you are relaxed mentally because it's what you learnt, but I want to push myself.
Mr. Balanchine wanted me to be myself. He didn't want me to look like anyone else. I love teaching our company dancers the Balanchine ballets. I try to give them what was passed down to me and what I learned from him. They dance it so beautifully. It also keeps me close to Mr. Balanchine. He's with me every single day.
But nature is always more subtle, more intricate, more elegant than what we are able to imagine.
Being independent gives me freedom to creatively be great. Standing on your own doesn't always get major exposure or support, but because I make music from a pure place, I am more so excited and relieved that it actually gets out into the universe.
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