Paris Opéra Ballet Étoile Sae Eun Park on Learning to Follow Her Heart
Sae Eun Park made Paris Opéra Ballet history in 2021 when she became the company’s first Asian-born dancer to be promoted to étoile. But her path to the company wasn’t a direct route—she encountered disappointments and self-discoveries along the way. Below, Park shares her toughest roles and challenges, and her advice for the next generation of dancers.
In reaching étoile, how much would you say was talent, and how much was sweat?
Thirty percent talent, 50 percent work, and 20 percent timing. Timing is really important.
Describe your journey to the Paris Opéra Ballet.
I was in ABT II [now ABT Studio Company] for a year and nine months. I had hoped to join the company, but I was told I did not have beautiful enough feet. I was sad, but I had to find my way. I joined Korean National Ballet for one year, and then decided to go back to school at the Korea National University of the Arts—for my generation, it was important to have a diploma. One of my professors was a soloist at Paris Opéra Ballet. I loved his class—the French style, it’s so natural, it feels almost like breathing. I wanted to learn more and see more of the world and thought, I’m going to try. Why not? So in 2011 I flew to Paris and auditioned, when I was 21.
What was the audition like?
There were about 12 or 13 jury members, and the studio had a raked floor, which was so hard! But I loved the experience. The first- and second-place dancers were asked to join the company; I was in third place. I thought, It’s okay. (I had already signed a contract to join Dutch National Ballet.) Then POB called me and offered me a one-year contract. I said yes, no question. But I had already signed with Dutch National, so what do I do? I emailed [DNB artistic director] Ted Brandsen and asked if I could see him—I wanted to tell him in person. I took a train to meet him and explained everything. He said he wanted me to follow my dream and let me go. I was so touched!
To whom or to what would you attribute your success?
My teacher, Sonia Kim. I was not a great student, but Sonia saw me and said, “You’re like a diamond. You’re so beautiful. I see your potential.” She gave me so many opportunities to dance onstage and thanks to this I won first place at the Prix de Lausanne, which led to my contract with ABT II.
What do you enjoy more, performing or being in the studio?
Both. I really love spending time with my partner and coach in the studio. Every day we make progress and grow. I’m already 35, but I’m still learning. And then onstage, I can be really free.
What was the hardest ballet in your repertoire to learn and perform?
I’m hesitating between Rudolf Nureyev’s Romeo and Juliet and his Don Quixote. Nureyev ballets are really hard. They make everything else seem so easy—I recently danced a different version of La Bayadère [while guesting] with Korean National Ballet, and I didn’t even feel tired! Nureyev’s choreography is similar to Petipa, but with more steps. There’s no time for breath, you’re dancing all the time. But I love it.
Of which accomplishment are you most proud?
My promotion to étoile. I did Romeo and Juliet that night, and I tried to dance what I was feeling inside. Because I’m always dancing with so many corrections in my head, but this time I led with my heart, and it felt so good. I will remember this forever. Now I always try to dance with this feeling.
What was one of your biggest challenges, and how did you deal with it?
Having a baby. My life totally changed. You don’t eat, you don’t sleep, you always have to rush and run. It’s not about you anymore, because you have to take care of your child. It’s quite hard, but I’m trying to find balance between my career and being a mother. I find that I’m more focused at work now, because I don’t have time not to be. And she gives me so much happiness.
What is your biggest indulgence?
Watching K-drama, with a beer!
What quality do you admire in other dancers?
I really like to watch dancers who speak with their body, as opposed to their face. You have to speak with your body, it’s stronger.
What is your advice for young dancers?
Follow your heart. When we’re young, we try to find answers from other people. You’re always asking your teacher or your friends what they think. But what does your heart say? You have to ask yourself what you want and make decisions for yourself.
