Ballet really lends itself to that because there's such a sense of ritual, with wrapping the shoes every day and preparing new shoes for every performance. It's such a process. It's almost religious, in nature.
The simplest comment on my book came from my ballet teacher. She said, "I wish you hadn't made every line funny. It's so depressing."
Ballet is the repetitive training of the body for the purpose of executing steps in traditional fashion. It is tied to and bound by the past. It is a disciplined beauty consciously preserved in the image of the old days in societies that were class-conscious and appreciative of elitist physical expertise.
I tell you, the arts - and especially ballet - the discipline is extraordinary. I was extremely impressed.
It's hard with ballet because your aesthetic really is important. It's different from acting and from film. Nobody wants to watch somebody who is sickly thin. And it's interesting because I have danced with people who are ill, have eating disorders, and a light goes off within them.
Ballet is the body rising. Ballet is ceremonial and hieratic. Its disdain for the commonplace material world is the source of its authority and glamour.
I was embarrassed that I even wanted to become an actress because coming from L.A., with two older sisters in the business and a mom who had been a ballet dancer, it was such a cliche.
With classical ballet you are literally injuring yourself.
And in between the two, in between the sky and the sea, were all the winds. And there were all the nights and all the moons. To be a castaway is to be a point perpetually at the centre of a circle. However much things may appear to change-the sea may shift from whisper to rage, the sky might go from fresh blue to blinding white to darkest black-the geometry never changes. Your gaze is always a radius. The circumference is ever great. In fact, the circles multiply. To be a castaway is to be caught in a harrowing ballet of circles.
I had seen the ballet of Swan Lake as a child but it was as an adult, when I saw a production featuring Erik Bruhn, that I first noticed how significant a part the ever-present threat of violence played. This juxtaposition of great beauty and grace with a backdrop of pure evil stayed with me for years.
Slashing its way to the finish line, Black Swan is the first ballet movie for highbrow horror fans for whom ballet itself signifies little to nothing. Those of us who know and love ballet can only look on it with a different kind of horror.
That kind of friendship doesn't just materialize at the end of the rainbow one morning in a soft-focus Hollywood haze. For it to last this long, and at such close quarters, some serious work had gone into it. Ask any ice-skater or ballet dancer or show jumper, anyone who lives by beautiful moving things: nothing takes as much work as effortlessness.
I did ballet, jazz and flamenco from when I was five years old. And my professional career started with dancing in musicals.
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.
Every girl - and boy, if you so choose - should take some ballet. Because ballet gives you grace. It gives you [the ability] to work with your hands. It's all about your hands.
I can always invent movement, and sometimes it can be fitted into the right place, but that is not choreography. It is the music that dictates the whole shape of the work. I do not believe in the permanence of anything in ballet save the purely classical.
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