A Quote by Arlene Phillips

I was probably around 14 or 15 when I became really conscious of those girls who were going on to the Royal Ballet school, and that I was not Royal Ballet school material, not by a long stretch.
I joined the Royal Ballet School when I was 13. Before then, I'd done ballet twice a week after school. The rest of my class had started aged 11, so I'd missed two years and was really far behind.
I had classical training at London's Royal Ballet School, and my first job was with the Semperoper Dresden ballet company in Germany.
One of the few things in dance to match the Royal Ballet's curtain calls is the Royal Ballet's dancing.
The Royal Ballet School looked after me very well, they were like my family, and the company gave me everything. But I was unhappy and I didn't know how to express it.
Fonteyn was our first proper British ballerina, and from the moment I started dancing, her image engulfed me. In my first year at the Royal Ballet School, Margot's statue was outside my dormitory. Like generations of budding ballet dancers before me, I used to touch her middle finger for luck.
When I was at the Royal Ballet School, I remember receiving my first eyeshadow palette from Marks & Spencer as a gift. It sparked my interest in beauty, which peaked when I became more involved in theatre and got to experience so many stunning image transformations to suit different productions.
In the Royal Ballet Company, there was a Japanese principal dancer, and onstage and in ballet, they have colorblind castings - so I did see Asian dancers, and they were always my favorite. When you have someone who looks like you, it's something you can kind of grab onto, and it makes you feel better about your place in the world.
When I was 8, I began to study ballet. In seventh grade, my mother took me into New York to study at the School of American Ballet. I loved ballet - its precision, the escape from uncertainty, and the music.
I dreamt of becoming a ballet dancer. I studied with the Royal Academy of London for 11 years, and that did not pan out, but my love for being on stage was born there. And then, I actually went to drama school in Paris, France. That's where it first started.
When I became a principal at the Royal Ballet it was my childhood goal, a dream and I became it at 19. And then I said 'what's next?' and I set myself a different goal at 19 to become an actor.
My parents were ballet dancers, and I did a lot of ballet, too, so I think I learned quite early on how to hold my body. Although I do recall desperately wishing I was shorter at school.
I have learned a great deal from the theatrical side of Covent Garden. The Paris Opera Ballet is more concerned with technique. It's perfect. It's beautiful. It's well done. But it lacks the theatrical tradition that is so important in England. At the Royal Ballet, absolutely everyone on stage seems to be caught up in the plot.
I loved being at the Royal Ballet. Those choreographers, MacMillan and Ashton, they knew how to translate complicated life into choreography.
Some of my friends were going to dancing school and, when one of them was auditioning for a ballet school in Kiev, my mother saw an opportunity for me to do that, so we could move to a bigger, better city.
I went away when I was 9 to a ballet school. I thought I wanted to be a dancer, but eight years of ballet cured me of that.
When I left The Royal Ballet, I didn't have anybody to talk to.
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