A Quote by Misty Copeland

I know that I'm talented, and I know that I'm not in American Ballet Theater because I'm black - I'm here because I'm a gifted dancer. — © Misty Copeland
I know that I'm talented, and I know that I'm not in American Ballet Theater because I'm black - I'm here because I'm a gifted dancer.
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.
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 was introduced to theater by a teacher that found me when I was in elementary school. She tested me for the Gifted and Talented program, started taking me to see the 'Nutcracker Ballet.' I got involved.
I trained as a dancer when I was much younger, for a large amount of time, like 6 or 7 years. Not to be a ballet dancer, actually, but I thought it was a complement for an actor. I thought that actors should know how to move, should know how to juggle, should know how to do acrobatics.
The life of a dancer is tragically short. What is remarkable about the New York City Ballet is that it makes us forget that. Because it keeps the ballet alive.
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 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.
Dance was always part of my life because I was a dancer and my mother was a dancer, and I love the theater.
I've never danced professionally as a ballet dancer, but all of my training is ballet, and I am a Fosse dancer.
I originally wanted to be a ballet dancer and trained for years, but when I was around 18, I realized I wasn't going to be as good a ballet dancer as I'd hoped I'd be and decided to become an actress instead.
You know Marques Houston, you know I'm a dancer, I'm a singer, but I wouldn't want to do a movie that I'm a dancer and a singer in. I want to do movies that people can take me more seriously in as an actor, because when you're making that transition, it is tough.
As a dancer, I know couples that have stayed married but separated to dance on different continents. Dance in general, but ballet in particular, is such a finite career. You can't do it later in life, and it's something that I think a dancer has to have some selfishness to fulfill.
Slashing its way to the finish line, Black Swan is the first ballet movie for highbrow horror fans for whom ballet itself signifies little to nothing. Those of us who know and love ballet can only look on it with a different kind of horror.
Slashing its way to the finish line, 'Black Swan' is the first ballet movie for highbrow horror fans for whom ballet itself signifies little to nothing. Those of us who know and love ballet can only look on it with a different kind of horror.
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 was a ballet dancer and that kind of bled into musical theater. I was constantly in rehearsal for one thing or another.
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