A Quote by Misty Copeland

I'm a classical ballet dancer, and at the end of the day I want to be with American Ballet Theater, performing classical ballets. — © Misty Copeland
I'm a classical ballet dancer, and at the end of the day I want to be with American Ballet Theater, performing classical ballets.
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.
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 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.
Being one of the few African American women to make it to this level in a classical ballet company, the level of American Ballet Theatre, takes a lot of perseverance.
In the world of classical ballet there are only a handful of story ballets, so getting a new one is cause for excitement.
'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.
When you train as a dancer, you understand you have to work exceptionally hard. I think dancers are the hardest - working people in show business. You have to push your body beyond where you thought it could go. It's athleticism. Perfection doesn't exist, but with classical ballet, there is an ideal, and I got obsessed with that ideal. In some ways, it was problematic because I don't have an ideal ballet body, but the discipline is what I carry with me to this day. That's my park, the discipline of dancing.
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.
I actually was a ballet dancer - I studied ballet from three until 13 - but like very seriously, that's what I wanted to do. I wanted to be a contemporary ballet dancer. I wanted to go to Juilliard.
I went to the Performing Arts School and studied classical ballet. That attitude is something that's put into your head. You are never thin enough.
Being in ballet class, being on the stage, being surrounded by my peers at American Ballet Theater every day, keeps me so humble and grounded. Being in ballet class, I feel, is like this meditation for me every morning.
So I'm studying ballet every day and really training so people will see me as a ballet dancer, which no one's seen before.
If I had to reflect on the finest classical male ballet dancers of my time, Vladimir Vasiliev of the Bolshoi and the Danish dancer Eric Bruhn were, I feel, without peer.
I grew up with classical music when I was a ballet dancer. Now when I have to prepare an emotional scene, to cry or whatever, I listen to sonatas. Vivaldi and stuff. It's just beautiful to me.
I announced at the dinner table when I was 11 that I wanted to be a ballet dancer. But my goal changed to musical theater after the choreographer Robert Joffrey saw me perform while I was on scholarship at the San Francisco Ballet School.
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