A Quote by Liz Kendall

I always wanted to be a dancer. I danced for maybe 16 years. So I would have loved to have been a dancer in the past. — © Liz Kendall
I always wanted to be a dancer. I danced for maybe 16 years. So I would have loved to have been a dancer in the past.
I wanted to be a ballet dancer. I was bad - I'm not very coordinated. But I always wished I could have been a dancer.
When I first moved to New York I wanted to be a dancer, I danced professionally for years, living a hand-to-mouth existence.
In my heart, my first desire was to be a dancer. I always wanted to dance and I danced from the time I was 7 till I was well into my 30s.
Maybe in another life I would have liked to have been a dancer. But I was a cheeky chappy who wanted to be an actor.
If I had an extra 20 or 50 years physically, I could have been the dancer of my dreams. But I never became that dancer.
I've never danced professionally as a ballet dancer, but all of my training is ballet, and I am a Fosse dancer.
Since I was a kid, I've been a dancer, and, of course, I'll always be a dancer till the day I die.
If I was trained as a dancer then I probably would have been a dancer, and I'm not.
I originally wanted to be a ballet dancer and trained for years, but when I was around 18, I realized I wasn't going to be as good a ballet dancer as I'd hoped I'd be and decided to become an actress instead.
I taught and studied dance in college, and for over a decade, I thought that would be my career: tap dancer, ballet dancer, modern dancer. I still find myself doing some tumbling or interpretive dancing in the grocery store every now and then.
Fred Astaire was a more formal, trained dancer who loved waltzing and only danced with the girls.
I'm a tap dancer. Once you're a tap dancer, you're always a tap dancer. In 'After Midnight,' I get to dance, but I don't do a full tap number.
What I found interesting in dance is the idea that my work has always been dealing with the nervousness between the human subject as a subject and the human subject as a form. And if you look at my dance films, there are always these cuts between the dancer as a form, the dancer as a subject, and this kind of very harsh treatment of the dancer as someone who's actually drawing with their body.
I actually was a ballet dancer - I studied ballet from three until 13 - but like very seriously, that's what I wanted to do. I wanted to be a contemporary ballet dancer. I wanted to go to Juilliard.
Forget the dancer, the center of the ego. Become the dance. Then the dancer disappears and only the dance remains. Then the dancer is the dance. There is no dancer separate from dance, no dance separate from the dancer.
I was a dancer for many years. I was a premier dancer with 'Porgy and Bess,' the opera. And I taught dance some, in different places.
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