Top 1200 Ballet Dance Quotes & Sayings - Page 4

I've got used to the fact -? just about -? that whatever I do is going to be compared to the other Beatles. If I took up ballet dancing, my ballet dancing would be compared with Paul (McCartney)'s bowling.

I did ballet from the age of five, but what I loved was my gymnastics. I kept the ballet going because of the gymnastics, then found I was going to be too tall.

The dance community suddenly came alive with programs like 'So You Think You Can Dance,' 'America's Best Dance Crew' and 'Dancing With The Stars.'

Ballet is like football. I don't understand a footballer's technique but I can see when he's playing brilliantly. People don't like ballet because they think they don't understand it. Actually they do. It's the most primitive form of appeal.

Degas was obsessed by the art of classical ballet, because to him it said something about the human condition. He was not a balletomane looking for an alternative world to escape into. Dance offered him a display in which he could find, after much searching, certain human secrets.

In order to dance professionally, you have to start at a young age. No matter what, your muscle structure and your bones have to be groomed from a very young age. Nobody wakes up at 17 and decides to become a ballet dancer.

Ballet found me. I was discovered by a teacher in middle school. I always danced, my whole life. I never had any training, never was exposed to seeing dance, but I always had something inside of me.

The choreographer cannot deliberately make a ballet to appeal to an audience, he has to start from personal inspirations. He has to trust the ballet, to let it stand on its own strengths or fall on its weaknesses. If it reaches the audience, then he is lucky that round!

There's no similarity between football and ballet, so this ain't ballet music being played on the field. I'm pumping something that's going to put me in a frame of mind to go to war, and something that's very high tempo and high beat.

Youngsters are selecting dance as a profession and are aiming for an aspiring career in the field of dance. I am happy to see that we brought about that change and encouraged young people to opt for dance as their path.

Capoeira was designed to look like a dance, and it's actually an incredibly effective means of fighting. Fighting is dancing. Look at a great boxing match, and it's a dancing. That's what's great about the choreography that goes on here. It's a delicate ballet with a fist in the face.

When I was filming in Budapest for ITV's 'Titanic,' I realised I'd never been to the ballet before so decided to see a production of 'Giselle.' I went on my own. As it was my first ballet, it was a very bizarre and interesting experience but very enjoyable.

Peaky' has attracted a lot of attention from different disciplines in the arts. It was originally going to be a ballet, which is Ballet Rambert, and there is also a lot of music artists who offer their music to the show to be used on the soundtrack.

There was a dance that everyone was doing that was heavily skewed with the power in one direction, but the dance was basically working, and then the dance got really disrupted with the first wave of feminism, and nobody found their footing yet - not the guys, not the women.

My favorite workouts are the ones that don't feel like I'm working out! So, dance is a big one. Another is any kind of isolated moves, like ballet moves. Anything that works the glutes and legs - sign me up! And I like to blast the music. I have to get lost in the music. That helps.

My first drag role was the character Widow Simone in the ballet 'La Fille Mal Gardee.' She's a crazy social climbing woman trying to marry off her daughter to the wealthy town idiot. And in the middle of the show, she gets to perform a clog dance. I loved it.

I met my first dance partner when I was about 17 or 18 and we were married by the time we were 18 or 19, I don't remember the exact date, and everything was dance, dance, dance. Then there came just a short space of time where I was wondering whether I was missing out on anything. Back then when you danced, everybody married their dance partner.

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.

The Heavenly Spheres make music for us, The Holy Twelve dance with us, All things join in the dance! Ye who dance not, know not what we are knowing.

It's beautiful to dance alone, beautiful to dance with your children, beautiful to dance with your friends, beautiful to dance with your lover, or even collectively. But the ultimate dance is the one we do by ourselves, when we make ourselves known to God.

I love music; I love dancing. I took, like, eight years of ballet when I was a kid, and I still love dancing. There's been a couple of films where I was able to do some dance numbers, like 'Romy and Michelle' and 'Summer of Sam,' and I'm so happy when I get to do that.

I was a dancer of no repute. But dance taught me a lot. You walk into a dance studio knowing you have to walk out with a dance. You improvise.

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.

I grew up as a dancer, and music and dance are so closely tied, that in ballet class you're listening to all this classical music, and in modern class you're working with a live drummer. It was something that always made me feel really comfortable and I've had a connection to since the beginning.

Dancing for the length of time that I did, it centered me in such a way to be really in tune with my body, and I just feel like I'm physically able to do things because of my ballet background. Without ballet, I don't think I'd look graceful at all on screen.

Everyone tries to get you to dance at clubs. They come up to you and say "You gotta dance! you gotta dance!" And then I dance, and they're like, "Not like that!"

I did tap dancing and stuff like that at drama school. I did ballet as well. My dance teacher and I didn't necessarily get along all that well sometimes. She's brilliant... but it's just because I don't like wearing tights that I put up a bit of a fight there, I think.

I started dancing when I was five, and I trained intensively as a competitive dancer up until the end of high school. I did all genres, and later on a did a lot of extra ballet on top of that. I actually got accepted to Julliard for dance during my senior year, but I ultimately turned it down to come to L.A. to act.

Fitness has been a part of all my life since I was a young child. I started dancing ballet and doing yoga when I was three, before stopping ballet at five to start playing soccer and tennis instead. That lasted until my early teens.

I have always added dance to my productions. When I was directing theatre, I added dance sequences where they didn't exist in the play. I think dance is the ultimate form of expression.

When I was 16, I moved to Torrance, California to train at a more advanced studio, and by 19, I joined the American Ballet Theatre in New York. It all happened so fast - it was pretty unheard of that someone could train for so few years and become a professional at one of the most elite dance companies in the United States.

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 wanted to give people - which is fairly bizarre considering my whole life is contemporary dance really - I wanted to give people a really fulfilling sense that they had seen a white classical ballet - in a very pure form.

Ballet needs figures that people can recognize and relate to. People don't know ballet dancers as well as they know other artists.

I suppose I've got a natural rhythm. When I was little, I used to just dance a lot and have some fun. I'd never been taught to dance. I've never been to dance school. I do my own little dance moves.

I was always too afraid to slow dance. But I do remember watching people slow dance. I was the guy on the sidelines. At the school dance, I was usually in the band, playing.

I think I like the artistry of the game. I still get a lot of pleasure watching the good-quality teams play, where the movements of the players are coordinated. It's almost ballet-like, although 'ballet-like' is a bit of an exaggeration.

I was called a bookish child. Mother sent me to a ballet teacher in Cincinnati when I was nine years old. I guess I was an awkward child and the family wanted me to be graceful. When I found out I liked to dance and people seemed to like to watch me, I was determined to go places.

My dream was to become a ballet dancer, but after a year in bed with rheumatic fever at 13, I had grown too tall, and had no muscle tone left. I tried a ballet class and couldn't even do a plie without falling over. It was my first death.

Me in high school, I was kind of a loner. I had a handful of friends. I'd eat my lunch in my car every day in my senior year. I went to ballet. I was a ballerina, so I was very focused on that. You kind of have to be. That was two-thirds of my week, going to ballet class.

Invitation to Dance- It’s a Dance. And sometimes they turn the lights off in this ballroom. But we’ll dance anyway, you and I. Even in the Dark. Especially in the Dark. May I have the pleasure?

I have had a variety of ideas, and I have thought about opening a dance studio. I am very passionate about dance. There are not many dance studios where I live.

The future of ballet is really in the hands of the creators, so if it's something that interests them to push the envelope with gender roles, then I think it will change. But if that's not of interest to a dance-maker, if their interest is to sort of preserve the way things have been done for the past 200 years, then nothing is going to change.

I will dance and resist and dance and persist and dance. This heartbeat is louder than death.

I would love to compose something for dance before I kick the bucket, and I'm not closed-minded about the dance, or the dance company.

I grew up as a dancer, and music and dance are so closely tied that in ballet class, you're listening to all this classical music, and in modern class, you're working with a live drummer. It was something that always made me feel really comfortable, and I've had a connection to since the beginning.

I joined the Royal Ballet School when I was 13. Before then, I'd done ballet twice a week after school. The rest of my class had started aged 11, so I'd missed two years and was really far behind.

Forget the dancer, the center of the ego. Become the dance. Then the dancer disappears and only the dance remains. Then the dancer is the dance. There is no dancer separate from dance, no dance separate from the dancer.

The music industry isn't converging toward dance music. Dance music is dance music. It's been around since disco - and way before disco. But there's different versions of dance music.

I am very obsessed with ballet now because it is a very difficult sport and a beautiful one because it is not about money. It's not like playing football or tennis - dance has no sponsors, it's just for the beauty. Maybe it is the only last pure sport.

I don't even think of myself as a quote, unquote star - that's really douchey. I think of myself as just like . . . a dance commander. You have to have dance parties all day and night, and you always have to be excited about having a dance party. You have to have a dance party in Milan one day, and then wake up and have a dance party at, like, four in the morning on national television in L.A. the next day. The hours are insane.

Obviously, something like ballet, you have music, you dance with the music and it's a very direct connection. With visual art, when there's no music that accompanies the art, such as great masterworks in a museum, you wind up interpreting what the artist is doing, how the artist made that work and what they're conveying.

'Porgy and Bess' has never been thought of as a dance show, and yet it's filled with dance. It uses dance to punctuate the action, or as background, or as atmosphere; even when it's front and center, it isn't crucial.

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.

I loved gymnastics, and my gymnastics teacher said ballet was essential to help my dance routines in competitions. I only really went because my friends were going as well. It wasn't this kind of hidden love. Then, slowly, my friends stopped going and I thought, 'I like this. I am going to stay.'

I began with dance, doing ballet at 3, then tap, jazz, modern. Then I sang in church choirs, learned how to play clarinet and drums, sang with rock bands and only then did I get into musical theatre.

The Marquesan girls dance all over; not only do their feet dance, but their arms, hands, fingers, ay, their very eyes seem to dance in their heads.

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.

I found at a young age that emotions aren't always handled with talking and other emotions. I started ballet, seriously around fourteen, and let me tell you, nothing can give you an emotional reset like a good ballet barre.

The muscles that are used in Ballet Beautiful are similar to those used in classic ballet. They're also muscles that don't get used very often, which is why it burns so much.