A Quote by Karen Kain
In the world of classical ballet there are only a handful of story ballets, so getting a new one is cause for excitement.
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I'm a classical ballet dancer, and at the end of the day I want to be with American Ballet Theater, performing classical ballets.
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.
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.
'The Firebird' just symbolizes a lot for me and my career. It was one of the first really big principal roles that I was ever given an opportunity to dance with American Ballet Theatre, and it was a huge step for the African-American community, I think, within the classical ballet world.
I had classical training at London's Royal Ballet School, and my first job was with the Semperoper Dresden ballet company in Germany.
I think American Ballet Theatre is setting that standard now for classical ballet, that you can dream big, and it doesn't matter what you look like, where you come from, what your background is.
With the people, for the people, by the people. I crack up when I hear it; I say, with the handful, for the handful, by the handful, cause that's what really happens.
The classical ballet world is so exclusive and small, and a lot of people don't know about it.
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.
It's a small community, the classical music community, along with the excitement of new places and new things and this feeling of being at home wherever you go because that's where your community is.
Its a small community, the classical music community, along with the excitement of new places and new things and this feeling of being at home wherever you go because thats where your community is.
It was my responsibility that this world got itself an atom bomb, because there were only a handful of nuclear physicists in the thirties - only a handful. And we were all beating the desk and saying "How wonderful it will be if we discover atomic fission."
I knew I wanted to be a ballet dancer, but what kind, I wasn't sure. My two dream companies had been New York City Ballet and American Ballet Theater.
Me in high school, I was kind of a loner. I had a handful of friends. I'd eat my lunch in my car every day in my senior year. I went to ballet. I was a ballerina, so I was very focused on that. You kind of have to be. That was two-thirds of my week, going to ballet class.
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.
Theoretical physicists live in a classical world, looking out into a quantum-mechanical world. The latter we describe only subjectively, in terms of procedures and results in our classical domain.
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