Top 583 Pointe Dancers Quotes & Sayings

My idea for the Jamison Project was rather like a pickup company. The idea was to give the dancers a taste of the menu. Today, dancers need to try as many companies as possible without having a drop-dead loyalty to me or anyone else. They like to have the leeway to go their own way.

Modern dancers give a sinister portent about our times. The dancers don't even look at one another. They are just a lot of isolated individuals jiggling in a kind of self-hypnosis and dancing with others only to remind themselves that we are not completely alone in this world.

It's kind of become a journey about the dancers, but dancers are the reason why this show is so successful. They are the choreographers, they are the teachers and if not for their hard work, there would be no 'Dancing With the Stars.'

For 'Chicago,' the dancers need to demonstrate an affinity for the Fosse style. Sometimes dancers come in with brilliant technique, but if the Fosse style isn't easy for them, or it's awkward for them, they won't be right for this show.

Dancers are working their bodies just like a marathon runner would, and you have to eat to make it through a three-hour performance. Dancers put their bodies through incredible strain.

I would love for dancers to be treated better and for dancers to have support, for dancers to have managers, agents. This is the only art form that does not have a proper support system.

In the earliest cultures any tie between the dancers is slight. In a higher level the choral dancers almost always touch one another and thus force themselves into the same stride and the same movement. The closer the contact, the stronger is the social character of the choral.

I know that dancers, especially ballet dancers, can't do it forever.

There are a lot of things that dancers can do that actors cannot and actors can do that dancers cannot.

Sometimes I miss being en pointe, but not a whole lot. Every once and a while, I would love to float for a minute on a shoe. But for the most part, I did it long enough that it's OK.

Do I watch dancers as people? Yes, absolutely. Do I watch really good dancers for specifically who they are? Absolutely, because how they move best and how they look best is going to be most familiar to them, and not necessarily to me.

For 20 years, I've been running an institute in Chennai where serious dancers from Kerala come with aspirations of becoming professional dancers.

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.

Our pointe shoes are our instruments. If something's wrong with my feet, all my mind goes there. I usually have six pairs ready. Soft shoes for one act, stiffer shoes for another, stronger shoes for a variation with a lot of turns.

I feel like people used to leave their homes and go to their local theatre, and they used to watch ballet dancers and musical theatre performers and tap dancers and orchestras and dog acts. You had to leave your home, be in the presence of other people, know how to behave, and enjoy the human being whose beating heart was in front of you.

When you're wearing pointe shoes, honestly, they hurt - a lot - every day.

So many dancers feel that what they look like is more important than who they are. This is a real danger for dancers who focus for years on appearances and think of themselves as merely a body. The choreographer can't work with them in the realm of ideas. It's a huge problem if they haven't been connecting internally. If they've decided that what's inside is of little value, they can only try to approximate some kind of look.

Pointe shoes are torture devices. I mean, ballerinas get used to it, but it was definitely a new experience for me. They feel medieval. I was very happy to stop wearing them.

I dance with the dancers.

Some people seem to think that good dancers are born, but all the good dancers I have known are taught or trained.

It fit into my scheme of things for many reasons. At the time it was true that male dancers were looked down upon, and it was true that a lot of the male dancers were effeminate. But what I was really trying to do was develop something that would be American.

Dancers are made, not born.

It's important to get well-rounded right off the bat. A lot of experienced dancers can get pigeonholed into one thing. I've been hired for a lot of different gigs simply because I can do a lot of different things with different levels of dancers. And it's sad to me that some dancers don't do more.

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.

I'm still trying to change the way people see black dancers that we can become delicate dancers, that we can be a ballerina.

I was one of those dancers who they say wants to feel the floor through their pointe shoes. I would end up not wearing toe pads and that stuff. I would just wrap minimal amounts of paper towels around my toes.

I will say a lot of dancers do such beautiful things for their body and then they smoke a cigarette. I've never been a smoker, but I realized after taking yoga . . . in ballet you're not encouraged to do a lot of breathing. I think in a weird way, a lot of dancers find relief in actually breathing.

On dancing on pointe: Why don't they just get taller girls?

I look for dancers who have all the technique in the world. But they must be dancers who are open-minded, who are willing to forget that they know anything. They also have to be gorgeous; they must have a clear image of themselves and strong personalities.

Dancers are the messengers of the gods.

Dancers are a great breed of people. And they really want to dance so you don't have to beg them to work. However, dancers sometimes build walls around themselves because they are presenting themselves all the time: dancing is very much a confession.

Dancers can get to see almost everything now. When I used to go into companies to make a piece, the dancers had hardly ever seen my work. Now they can watch it on YouTube. It means they're much faster at picking up material.

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 don't have many actors in my family, but I do have a Great Uncle that is a film-maker in Philadelphia, and my great-great-grandparents were Flamenco dancers in the 30's in New York, they were Spanish dancers.

The first thing I did was 'Ziegfeld Follies,' a small bit en pointe with Fred Astaire.

Usually I perform with dancers.

My first thought in life was wanting to be an actor. I was in ballet slippers and on pointe as soon as I could walk. I always wanted to be an actress, not a mother or housewife.

I am from Michigan; I am from Grosse Pointe. I was upper class growing up there.

I traced the marley floor with my pointe shoes, and imagine myself on the stage, not as a member of the corps, but as a principal dancer. It felt right. It felt like a promise. Some day, somehow, it was going to happen for me.

In vocal choreography you had to give a lot of consideration to the fact that you were working with singers and not dancers. But you had to make singers look like they were dancers, and to make the movements as natural as possible, and there to be an association with the movement, uh, somewhat to what the lyric was saying.

I don't try to make a place in history at all! People put me in the history of cinema because my first film, La pointe-courte, was so ahead of some other filmmakers. Many filmmakers have made resurgent work, and I was just a little ahead of the time.

My dancers are the real stars.

I remember seeing a photograph of myself en pointe with my hand over my head and the other hand turned in under my breast curtseying. I took dance lessons at Miss Debbie's Dance Studio, and she put this picture of me in the storefront window. I was so unbelievably humiliated by the sight of myself.

Do you know what I've learned? That although ecstasy is the ability to stand outside yourself, dance is a way of rising up into space, of discovering new dimensions while still remaining in touch with your body. When you dance, the spiritual world and the real world manage to coexist quite happily. I think classical ballet dancers dance on pointe because they're simultaneously touching the earth and reaching up to the skies.

It's going to take a while before we see a real shift in the students and the dancers that are going into professional companies because it takes so many years of training, but I do think that there's a new crop of dancers, of minority dancers that are entering into the ballet world.

I don't ever use dancers, and when I do, it's literally, like, four break dancers.

Dancers, many dancers today can do so much technically. You can give them steps that are complicated, then more complicated, pyrotechnical - and they can execute these steps to perfection. But to do simple steps with a pure classical line, that is truly difficult.

These are the boys of Pointe du Hoc. These are the men who took the cliffs. These are the champions who helped free a continent. These are the heroes who helped end a war.

A good novel is a good novel, pointe finale. And I think what I'm writing is exactly that.

Some dancers dream about successful careers...and some dancers wake up and do the hard work that's necessary to achieve them.

At the time I started in ballet they were dancing 'The Spirit of Champagne' on pointe, in Paris. I thought, 'I don't want to dance the spirit of champagne, I want to drink it!

I do ballet and pointe work. I also do tap, commercial jazz and technical jazz, freestyle street dancing.

When World of Dance came around, what I really liked about it was it's from dancers for dancers. For me growing up as a dancer and becoming an actress, Jennifer Lopez really was this icon in that world to me.

To me, this acquirement of nervous, physical, and emotional concentration is the one element possessed to the highest degree by the truly great dancers of the world. Its acquirement is the result of discipline, of energy in the deep sense. That is why there are so few great dancers.

I went to Westside School of Ballet in L.A. and I was climbing through the ranks. Then I got to pointe shoes and I was like, 'This is not cool, you guys. This is gonna be in textbooks, someday, along with Chinese foot-binding.' Anyway, it's not for me, so I got into doing different kinds of dance.

I think classical ballet dancers dance on pointe because they're simultaneously touching the earth and reaching up to the skies

A producer wouldn't think of making a film about ballet dancers without using real dancers, but they will cast actors who have never held a bat in baseball films.

I don't force myself to exercise; I find going to gyms really boring. I find it easier to go for a fast walk or a jog in Central Park. I wear sensible shoes because my ballet dancing left me with a bunion on one foot after all the pointe exercises.

Christian Louboutins are uncomfortable, but I screamed the first time I put on a Pointe Shoe.

For nearly a century, Republican-controlled Houses held the line on tax rates, a Republican coup de pointe to Democratic tax-increase parries.