A Quote by Sarah Hay

I've danced since I was 5 and went to the School of American Ballet at Lincoln Center at 7. — © Sarah Hay
I've danced since I was 5 and went to the School of American Ballet at Lincoln Center at 7.
I've actually seen a good amount of the shows at Lincoln Center Theater. I went to school right across the street at Juilliard, so some of the first stuff I got to see here in New York was at the Lincoln Center Theater. I've always been inspired by the work that they do.
When I was 8, I began to study ballet. In seventh grade, my mother took me into New York to study at the School of American Ballet. I loved ballet - its precision, the escape from uncertainty, and the music.
And then he danced,-all foreigners excel the serious Angels in the eloquence of pantomime;-he danced, I say, right well, with emphasis, and a'so with good sense-a thing in footing indispensable: he danced without theatrical pretence, not like a ballet-master in the van of his drill'd nymphs, but like a gentleman.
My sister was in ballet growing up. I spent almost the entirety of 7 through 12 backstage at Lincoln Center, just running around, waiting for 'The Nutcracker' to end.
Women, as well as men, in all ages and in all places, have danced on the earth, danced the life dance, danced joy, danced grief, danced despair, and danced hope. Literally and metaphorically, by their very lives.
Until the early 90s, when I was working on a project about the idea of free will in American philosophy. I knew that Lincoln had had something to say about "necessity" and "fatalism," and so I began writing him into the book. In fact, Lincoln took over. I wrote instead 'Abraham Lincoln: Redeemer President,' in 1999, and I've splitting rails with Mr. Lincoln ever since. If there's a twelve-step process for this somewhere, I haven't found it yet.
After I finished 'Center Stage,' I went back to San Francisco, and I danced for seven seasons with the San Francisco Ballet.
Misty Copeland is making history. During American Ballet Theatre's current season at the Metropolitan Opera House, Copeland will alight on that storied Lincoln Center stage, making her New York debut as the Swan Queen in the iconic masterpiece Swan Lake - a crowning achievement for any dancer, regardless of the color of her skin.
In high school, I did the 'The Tempest' at Lincoln Center for Joe Papp.
The worst thing about me is my toes. I've thick joints from wearing pointe ballet shoes - I went to a dance school from the age of 11 and danced every day.
Look at where I lived! Four blocks from Lincoln Center. I used to play in the fountain. And then I started taking dance lessons. I was in 'The Nutcracker' for the N.Y. City Ballet when I was 8 and dancing in 'The Firebird' for George Balanchine when I was 9. Believe me, that's something you don't ever forget.
When I first moved to New York, I wanted to be a dancer. I danced professionally for years, living a hand-to-mouth existence. I never tapped into nightlife; all I knew was dancers. We went to bed early and got up early and went to free concerts at the Lincoln Center and Shakespeare in the Park.
I've never danced professionally as a ballet dancer, but all of my training is ballet, and I am a Fosse 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 did grow up in France, and even though I didn't go to the school or dance with the Paris Opera Ballet, I absorbed similar ideas in my training. I understand the scale of a big company. I danced for one for almost 20 years.
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.
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