Justin Peck Quotes

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Ballet dancers are among the greatest living athletes.

Chicago is amazing.

It's nice to have the support and infrastructure to do what I want creatively. That's kind of a rare thing to find.

Pressure feels sort of normal to me.

George Balanchine is my role model because his work is so varied. You can see two ballets of his and not even realize that they are by the same choreographer.

I try and create choreography that's in conversation with the music that the audience is hearing.

I've always thought of the process of creating ballets as being this kind of team effort. It's not like being a painter, where you have your paint, and you have canvas, and you just go at it. I'm working with these living, breathing, functioning human beings, and they have their own thoughts and ideas about what works well movement-wise.

When I saw 'Hamilton,' there was so much information so fast, I had to keep up with it. I find that quality in art exhilarating.

American ballet... is ultimately an evolutionary art form, requiring many voices to creatively carry forward.

What's always interested me the most about ballet is it's this great opportunity for many different artistic mediums to come together to create a cohesive experience.

Balanchine was just able to strike the balance between literal narrative and abstract dance.

I never intended to dance in my own work, but we did what had to be done.

To me, dance and ballet are not so accessible.

It's probably what I'm most interested in as a choreographer: how I can alter and shift and develop the structure of a piece and of the space.

It's time for there to be roles in the ballet where two men can fall in love, and a woman can lead a company of 20 dancers that include both men and women.

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.

There is a clearing for new creative thought in choreography. I don't feel intimidated; there is a lot I can do that is new or innovative or different.

I'm trying to create ballets that I would enjoy seeing.

My choreography is very classically based.

I like graceful and elegant partnering that gives an illusion of ease instead of emphasizing difficulty. I don't want to make something 'contemporary' or 'trendy,' because ballet doesn't progress on one track: it can branch out in many directions, and as Balanchine showed, there's always room for pure classicism and more subtle alterations of it.

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