A Quote by Sylvie Guillem

I loved being at the Royal Ballet. Those choreographers, MacMillan and Ashton, they knew how to translate complicated life into choreography. — © Sylvie Guillem
I loved being at the Royal Ballet. Those choreographers, MacMillan and Ashton, they knew how to translate complicated life into choreography.
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.
in the nineteenth year and the eleventh month speak your tattered Kaddish for all suicides: Praise to life though it crumbled in like a tunnel on ones we knew and loved Praise to life though its windows blew shut on the breathing-room of ones we knew and loved Praise to life though ones we knew and loved loved it badly, too well, and not enough Praise to life though it tightened like a knot on the hearts of ones we thought we knew loved us Praise to life giving room and reason to ones we knew and loved who felt unpraisable. Praise to them, how they loved it, when they could.
One of the few things in dance to match the Royal Ballet's curtain calls is the Royal Ballet's dancing.
I think I always knew that the things that I was born with can definitely translate to the NBA. Energy and being able to run, rebound, those things will always translate.
Sir Kenneth MacMillan's version of 'Romeo and Juliet' is my favorite full-length ballet, Sergei Prokofiev's breathtaking score a favorite composition of music. As a student of martial arts, I loved drawing my sword in defense of my Capulet kin.
Confidence, as a teenager? Because I knew what I loved. I loved to read; I loved to listen to music; and I loved cats. Those three things. So, even though I was an only kid, I could be happy because I knew what I loved.
Fight choreography has far more in common with dance choreography than it does with actual martial arts. You learn martial arts techniques, but those are just the movements for the choreography. You're working with a partner in choreography. You're working on timing.
I had classical training at London's Royal Ballet School, and my first job was with the Semperoper Dresden ballet company in Germany.
Confidence; as a teenager? Because I knew what I loved. I loved to read; I loved to listen to music; and I love cats. Those three things. So, even though I was an only kid, I could be happy because I knew what I loved.
Choreographers tend to treat ballet dancers like kids they can manipulate.
The only family I knew was the Royal Ballet and I didn't feel I was part of it in a way. I moved up quite quickly so I didn't make many friends. You are on your own in that sort of place.
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 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.
My philosophy on choreography is that the making of a ballet is a team effort, and we're in this together. It's not me hammering on them. It's more about how we can elevate this piece collectively to something great.
At the beginning, ballet accounted for at least two hours out of six hours of my daily training session. Later I devoted less time to ballet, but every workout of mine included training in choreography.
On the one hand, I loved being a banker. I loved how numbers could tell a story and how you can invest in ideas and see them translate into products and services and create jobs. What I didn't like, particularly where I was working in Brazil during the debt crisis of the early '80s, was how the poor were excluded from the banking system. I made the decision to try and experiment with whether we could use the tools of banking to extend the benefits of the economy to the poor.
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