Ballet Quotes
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I started taking ballet lessons when I was three and a half and I still take dance classes.
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The first good player I watched as a kid was Joe DiMaggio, and that was like ballet. Since then, I played sandlot and college ball and came to understand how difficult it can be.
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I think that ballet is very good for the body. It's very similar to yoga, because you have to hold a position.
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I was really creative. I started to dance very young. I loved to dance. I begged my mother to put me into dance classes, and finally, in third grade, she did. Tap and jazz, but not ballet.
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I was a very rotund child with short hair, and for some reason, I always had black ballet shoes. I was like the Wednesday Addams of ballet.
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I always knew I was a bit different from my friends, had too much energy, and suddenly I could get it all out with ballet.
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I used to dance when I was younger - ballet and modern dance.
Nastassja Kinski -
The best physique I ever had was when I was ballet dancing.
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I took tap and ballet, which likely contributed to my sense of rhythm and showmanship. I love creating music that gets people moving together, free of inhibitions.
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If Shanghai wants to be an international cultural center, they have to do something about that. The reason I left is that I wanted to explore what ballet is all about, and if I had stayed put, that wouldn't have happened.
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My personal trainer is an ex-dancer so we do a lot of ballet and jazz.
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Wrestling is ballet with violence.
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My workout is ballet class and rehearsal - I've never belonged to a gym.
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Throughout my childhood, I did a form of Irish dancing that was kind of the precursor to 'Riverdance.' It was a mixture of ballet and Irish dancing that my teacher, Patricia Mulholland, had invented, essentially. It was Irish ballet, and she would create performances based around the myths and legends of Ireland.
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I started with ballet and then my cousin Sarah introduced me to her tap teachers.
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I frequently go to the ballet, but I don't miss it in the sense that I wish I were still dancing.
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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.
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I wasn't a dancer learning to play Baby Houseman. I was Baby Houseman learning to play a dancer. I was someone who'd never done any Latin dance. I'd taken jazz classes and ballet growing up in New York, so I had dance in me, and I knew I loved it, but I'd never done a dance audition.
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I think Hong Kong's ballet audience is very sophisticated in the sense that they are able to find the beauty in good performances.
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My first mentor and inspiration was my Irish Dancing teacher Patricia Mulholland. She created her own form of dance known as Irish ballet and created stage productions of old Irish myths and legends. They were my first experiences on stage. She told my mum I was destined for the stage, and I took that as my cue.
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I think it's particularly stupid that filmmakers have traditionally said, 'Yeah, I like baseball, but the movie's not going to be about the intricacies of the game.' I mean, you wouldn't cast an overweight guy with stubble if you were doing a ballet film.
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My mother was the influence on me - my father was absent. He was a diamond dealer; he was doing wonderful things in the background, and women were left at home. So my mother really was in charge of everything: the ballet, dance lessons, piano lessons, and latkes.
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For every dancer, no matter how amazing your career, there's more to life than ballet. Being adored by your audience, it's only part of the story.
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Ballet needs figures that people can recognize and relate to. People don't know ballet dancers as well as they know other artists.
