A Quote by Misty Copeland
Once you become a professional, to get through a ballet like 'Swan Lake' - four acts as the lead, changing character - the perseverance is incredible. It takes a lot to make it through and keep the same energy throughout the entire performance.
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'Swan Lake' can be a nightmare. To make a 'Swan Lake' that is worth it, every single movement and breath has to be perfect. When you have an idea of 'Swan Lake' that is as high as that, it's almost impossible.
Swan Lake is the most difficult thing to portray for a female ballet dancer; it really requires such specific qualities of articulation, agility, strength, and the arm work is something that takes a lot of training.
'Swan Lake' is the most difficult thing to portray for a female ballet dancer; it really requires such specific qualities of articulation, agility, strength, and the arm work is something that takes a lot of training.
I drink protein shakes nonstop - three or four a day - and I run a lot, so you get rid of the bad carbs and keep the rest so you have the energy to make it through.
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.
I am trained, and I did do 'The Nutcracker' in its right form, but at the time, they told me I was black and I'd never be in 'Swan Lake.' I went through all those prejudices in the ballet community, and I still emerged wonderfully trained and found my way to Alvin Ailey where there were familiar faces.
I think it's become an economic necessity for people to be able to learn and grow throughout their lives, because most people can't get through their entire career with one skill set. We have to keep reinventing ourselves.
The first time the Kirov ballet was seen in America was on Sept. 11, 1961. The ballet was 'Swan Lake.' The ballerina was Inna Zubkovskaya. The place was the old Met, on what must have been one of the hottest nights of the year, and there was no air-conditioning.
Through performance, I found the possibility of establishing a dialogue with the audience through an exchange of energy, which tended to transform the energy itself. I could not produce a single work without the presence of the audience, because the audience gave me the energy to be able, through a specific action, to assimilate it and return it, to create a genuine field of energy.
The discipline that ballet requires is obsessive. And only the ones who dedicate their whole lives are able to make it. Your toenails fall off and you peel them away and then you're asked to dance again and keep smiling. I wanted to become a professional ballet dancer.
Dancers are working their bodies just like a marathon runner would, and you have to eat to make it through a three-hour performance. Dancers put their bodies through incredible strain.
It takes incredible fortitude to keep on the road, even though it's fun and it's rewarding and you can't complain, it's just a great life, but it takes a lot of energy.
It takes incredible fortitude to keep on the road, even though it's fun and it's rewarding and you can't complain - it's just a great life - but, you know, it takes a lot of energy.
I get a lot of parents coming up to me, telling me they are grooming their kids to be professional athletes. I'm really against that. I think it's a great life, and yeah, you can lead them in that direction. I think a lot of parents live their lives through the kids. Because they didn't make it, they want their kids to make it. It puts a lot of undue pressure on the kids.
Broadly speaking, there are two kinds of acting: character acting and lead acting. And in my life, to begin with, in the 1980s, it was all character acting. And then when, by fluke, through 'Four Weddings', I got into doing lead parts, it's a completely different thing.
I'm always aware that there's a trick to television to prevent an actor from becoming too lazy. Once you become too familiar with a character, it can stifle the adrenalin from flowing through in the performance.
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