That's something that I'm trying to do in my work, to send a message to western people. They're the ones who are completely disconnected.

It's very important that young artists push boundaries, because sometimes you have this urge to do something - like the impulsive and dangerous urges I had as a child - and if you don't follow through with it you might miss out on a developmental experience.

With classical ballet you are literally injuring yourself.

In the performer's body, you don't care how you look. It doesn't matter if you're old, fat, beautiful, or ugly. It doesn't change anything. The only thing is your charisma and how you express your idea.

We always project into the future or reflect in the past, but we are so little in the present.

I believe stories are very important to all performances. The life story of the performer shapes their work, and the life stories of the audience alter how they receive the work, what they read into the performer.

There are two kinds of loss of hope, one is the feeling when your pulse slows down and you are going to die, and there's nothing else left. The other loss of hope is when you're living in a country which becomes insecure, and you don't know what the future is. That's existential.