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Saeeun Park, Paris

The first Asian principal dancer of the world’s oldest ballet company.

We met ballerina Saeeun Park in Paris, where she performs as an étoile of the Paris Opera Ballet.

Though light and delicate in appearance, she conveys her own unique presence through movement.

Here are a few moments from her life beyond the stage.

U: Is there a moment or routine that brings you comfort?

S: As a mother, I feel most comfortable after I drop my child off at daycare and head to the ballet company. That’s when it feels like my own day really begins.

U: Among all the performances you’ve done, is there one that left a strong impression?

S: Every production has been special and meaningful in its own way, so it’s not easy to choose just one.

But L’Histoire de Manon stands out in my memory. It was my first performance after giving birth, and the experience of being on stage felt completely different before and after becoming a mother.

The ballet, based on the novel Manon Lescaut and choreographed by Kenneth MacMillan, was performed at the Paris Opera Garnier in 2023. I danced the lead role of Manon, and that performance has stayed with me ever since.

U: You returned to the stage quite soon after giving birth. How did you manage recovery, and how do you balance dancing and parenting?

S: I’m still figuring it out. Parenting is much harder than ballet. I’ve never really thought ballet was hard—it’s something I enjoy and find exciting.

I love my child deeply, and the happiness they bring me is even greater than ballet, but raising a child is exhausting.

Motherhood involves a lot of sacrifice. If ballet was a kind of sacrifice for myself, now I’m learning to sacrifice for someone else. To do both roles well, I have to manage my time carefully.

I resumed ballet six weeks after giving birth. My doctor said it might help with recovery, so I gave it a try. At the time, my abdominal and pelvic muscles were still open, and I honestly wondered if it would be possible. But since I’ve been doing ballet for over ten years, my body adapted quickly. Returning early helped a lot.

U: Have you ever experienced a slump as a dancer? How did you overcome it?

S: Ballet has always been enjoyable for me. I don’t feel pressure to be perfect. I focus on gradual improvement, which helps me enjoy it more.

Since I joined the company, we’ve had four different directors. One of them didn’t share my approach. I wanted to dance in a more classical style, but the direction was different, which led to a slump. It was tough, and I even thought about leaving. But eventually, the situation changed, and I found my place again.

U: Has anyone influenced you deeply along the way?

S: I think people are most influenced by those closest to them. I met my husband two years after I moved to Paris. We were together for seven years before getting married, and we’ve been married for five. Spending that much time together, I’ve naturally picked up his way of thinking.

We talk about everything. He’s both a best friend and a mentor to me.

I used to know what I wanted and didn’t want, but had trouble expressing it. Saying no was difficult, and that made things harder for me.

Through conversations with my husband, I learned how to express myself clearly without losing my point of view. That was the biggest lesson. Now I can express myself much better.

U: Ballet has different styles depending on the country or company. How would you describe the Paris Opera Ballet’s character?

S: It’s a hard question. Sometimes I think I understand the company well, but that confidence doesn’t always last.

Every time the director changes, the atmosphere and preferred style seem to change too. Still, when you think of “Paris Opera,” a certain image comes to mind. To understand French ballet, you need to understand French culture. French people tend to be direct and expressive. French ballet reflects that too.

I used to think French ballet was elegant and refined, with subtle footwork. Sometimes it is, but it’s hard to define. These days, I think French ballet simply reflects French culture.

U: So it’s linked to culture.

S: Yes. For example, many Koreans avoid eye contact in conversation. They tend to be shy. But French people make strong eye contact and express themselves directly.

They don’t rely on flashy accessories to express themselves—it’s in their words and gaze.

On stage, it’s the same. Their presence is powerful. The phrase “owning the stage” fits them well. That kind of stage dominance feels like a key part of French style.

U: You’ve lived between Seoul and Paris. Are there any places in either city where you feel most like yourself?

S: After living in France for a long time, Paris feels more like home. I’ve built my family here.

Recently, I realized I feel most comfortable in the rehearsal studio. I travel a lot to perform, but no place feels as familiar as that.

When I go to a new place, I have to adjust to the space and environment, and sometimes I look different in the mirror. But in the studio, there’s no tension.

In Korea, if I had to choose… maybe the airport. (laughs)

U: Do you have any goals for the future?

S: I get asked this question a lot, but it’s not easy to answer. I’ve already reached the peak of my ballet career, and I’m very grateful.

Becoming an étoile at the Paris Opera is difficult. You need to be promoted to get leading roles, and your happiness often depends on that.

But now, I already have those opportunities, so I can enjoy my personal life and raise my child without as much pressure.

Maybe that’s why it’s hard to think of the next goal. But I’m sure I’ll stay connected to ballet somehow.

If I keep doing my work well, I believe someone will need me again.

U: Which outfit from today’s shoot felt the most like “you in this season”?

S: The blue jacket I wore over the black skirt. It matched well with the cool, clear Paris sky.