A Quote by Sarah Hay
I've been with Semperoper Ballet in Dresden, Germany, for five years - I wanted to escape the competitive dance world and go somewhere where I felt appreciated for my talents. Stateside, it was always kind of a struggle. And the competition? Not into it.
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I had classical training at London's Royal Ballet School, and my first job was with the Semperoper Dresden ballet company in Germany.
As soon as I heard there were people in Germany who wanted to restore the old part of Dresden, I wanted to help. Even before the Nobel, I had started this group, the Friends of Dresden. The destruction of Dresden made a big impression on me when I was a child, and I wanted to do this.
Competition is great for everyone. Sports can teach you so much at an early age, including camaraderie and sportsmanship. Competition aspect is something I've always been big on - I always wanted to compete in something. It was swimming for many years, then I moved on to basketball. I had to find a way to channel my competitive energy, so I'm lucky that basketball worked out for me.
I grew up going to see my sister dance, both at the ballet and later as a modern dancer, and have always been a big fan of the ballet. So I have had a long relationship with dance.
But I was always a bit of a gypsy, anyway. I spent five years at Oklahoma State, five years at Miami and moved on after winning the national championship, and five years with the Cowboys. So, I was ready to move on. We won back-to-back Super Bowls, and I felt that I accomplished what I wanted to accomplish.
I always knew I wanted to dance. I started ballet when I was three years old, and I just knew it was something that I loved and that I wanted to do.
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 wasn't a ballet baby. My first dance class was in an outdoor pavilion when I was three. It was called 'creative movement.' The teacher gave us chiffon scarves in beautiful colors. She turned on some music and said, 'Now go dance.' So for me, dance has always been about self-expression.
I went to school in New York and grew up in and out of New York. I love it, and I miss it, and every time I go back, I think, 'Why am I in Germany?' I do know that my career is really important to me, and in Germany, they've always been so much more supportive than my previous engagements in the dance world.
I don't like to go beyond modernity because you think girls might be like that in five years, but in five years what I see now is going to be old; we are always going to go somewhere else. You have to bring a few novelties within what will remain.
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 had no interests. I had no interest in anything. I had no idea how I was going to escape. At least the others had some taste for life. They seemed to understand something that I didn’t understand. Maybe I was lacking. It was possible. I often felt inferior. I just wanted to get away from them. But there was no place to go. Suicide? Jesus Christ, just more work. I felt like sleeping for five years but they wouldn’t let me.
I always knew I wanted to dance and when I was eight, I started ballet lessons at a church hall. They all wore pink ballet shoes but I wore green, as they were cheap, and I remember everyone staring at me.
To have a platform like So You Think You Can Dance, where you're reaching this audience that's been created over the 10 years that they've been on the air. People who didn't know anything about dance and aren't going to go to the theater are learning about it, even if it's ballroom and jazz, by just turning their television ono. They're building this audience that's advanced and educated enough to introduce them to ballet.
I've never felt at home in Kortedala, or in Gothenburg, so I always felt like I needed to go somewhere and find some kind of perspective on things.
My movies were not reaping the kind of emotional rewards that I wanted. I wanted them to be appreciated and they weren't. I didn't want the reviews to say, "Mel Brooks has made another movie," and you get the title somewhere in the second paragraph.
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