A Quote by Sonoya Mizuno

In the Royal Ballet Company, there was a Japanese principal dancer, and onstage and in ballet, they have colorblind castings - so I did see Asian dancers, and they were always my favorite. When you have someone who looks like you, it's something you can kind of grab onto, and it makes you feel better about your place in the world.
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 wanted to be a dancer from when I was about nine or something like that and started ballet. I used to really like it and got into it and did it full time for a couple of years. I did a lot of ballet but I traded that in for acting when I was about 15.
How can you live the high life if you do not wear high heels? I don't understand why women wear these ballet pumps. They are only good if you walk like a ballet dancer, and only ballet dancers do that.
I feel like I represent every young dancer, and even non-dancer, who felt they were not accepted by the ballet world. I'd like to think that they can see themselves in me.
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 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.
The Royal Ballet is the best paid company, but the dancers get nothing. The stage crew get paid three times more than the dancers, and they have a job for life - dancers only have 10 years.
A young girl reached out to me to be her mentor one day, which I didn't really know anything about. What I did remember was what it was to be alone as an African-American dancer in the ballet world and wanting to connect with someone who looks like me.
I've usually never felt comfortable shooting until things were kind of claustrophobic, but ballet dancers need a lot of space, so the sets that I designed had to be big. Normally, I'd design a kitchen that was half the size of a normal kitchen, just to make everything feel kind of womb-like, but the kitchen in a ballet would have to be like 100 feet wide and just as long.
My parents were ballet dancers, and I did a lot of ballet, too, so I think I learned quite early on how to hold my body. Although I do recall desperately wishing I was shorter at school.
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 had classical training at London's Royal Ballet School, and my first job was with the Semperoper Dresden ballet company in Germany.
I was a ballet dancer. I did other kinds of dance but ballet was my great love. But then it became clear, when I was 12, that my body wasn't going to be right. That's always a heartbreaking moment because there's nothing you can do about that. Your body is just not right. You don't have enough turnout. You're not built properly.
I was probably around 14 or 15 when I became really conscious of those girls who were going on to the Royal Ballet school, and that I was not Royal Ballet school material, not by a long stretch.
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.
One of the few things in dance to match the Royal Ballet's curtain calls is the Royal Ballet's dancing.
This site uses cookies to ensure you get the best experience. More info...
Got it!