A Quote by Deborah Bull

Dancing is a tough career, but I'm glad I spent it at the Royal Ballet. — © Deborah Bull
Dancing is a tough career, but I'm glad I spent it at the Royal Ballet.
One of the few things in dance to match the Royal Ballet's curtain calls is the Royal Ballet's dancing.
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.
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.
I've got used to the fact -? just about -? that whatever I do is going to be compared to the other Beatles. If I took up ballet dancing, my ballet dancing would be compared with Paul (McCartney)'s bowling.
I had classical training at London's Royal Ballet School, and my first job was with the Semperoper Dresden ballet company in Germany.
Throughout my childhood, I did a form of Irish dancing that was kind of the precursor to 'Riverdance.' It was a mixture of ballet and Irish dancing that my teacher, Patricia Mulholland, had invented, essentially. It was Irish ballet, and she would create performances based around the myths and legends of Ireland.
I did ballet, jazz and flamenco from when I was five years old. And my professional career started with dancing in musicals.
Bringing anyone into royal circles is a pretty tough act. Especially in the British royal family, which is scrutinized by the press as no one's been.
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.
Crowned with leaves of the laurel. In England the Poet Laureate is an officer of the sovereign's court, acting as dancing skeleton at every royal feast and singing-mute at every royal funeral.
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.
My grandmother had a Miss Margaret's School of Dance to teach tap and ballet to kids, but I never studied it. I was raised a Mormon and they're dancing fools. It's the only vice they have - dancing.
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.
Dancing for the length of time that I did, it centered me in such a way to be really in tune with my body, and I just feel like I'm physically able to do things because of my ballet background. Without ballet, I don't think I'd look graceful at all on screen.
I've been dancing my entire life. Jazz, hip hop, ballet. And then there's tap dancing. I love to tap.
We do ballet dancing, Irish dancing, Scottish, jazz, tap - whatever country we're in or whatever culture that we'd like to present to the children.
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