A Quote by Sergei Polunin

When I left The Royal Ballet, I didn't have anybody to talk to. — © Sergei Polunin
When I left The Royal Ballet, I didn't have anybody to talk to.

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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.
I had classical training at London's Royal Ballet School, and my first job was with the Semperoper Dresden ballet company in Germany.
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.
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.
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 is a tough career, but I'm glad I spent it at the Royal Ballet.
Do you realize what's been done to this whole definition of immigrants? The way Democrats and the left talk about immigration, immigration is anybody who wants to come to the country. And so if you're opposed to anybody coming in, then you're anti-immigrant.
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 was afraid when I came to the Royal Ballet that it would be easy to have everyone walking all over me if I didn't stick up for myself.
I loved being at the Royal Ballet. Those choreographers, MacMillan and Ashton, they knew how to translate complicated life into choreography.
People who have left the group talk about how a religious inspiration took them to ISIS. It was their feeling of being marginalized as Muslims in the society where they were living, and then buying into the promise of a caliphate and of a Muslim land that is governed as in the time of the prophet. I have yet to meet anybody, or speak to anybody, who was not religiously motivated at some level.
My dream was to become a ballet dancer, but after a year in bed with rheumatic fever at 13, I had grown too tall, and had no muscle tone left. I tried a ballet class and couldn't even do a plie without falling over. It was my first death.
I'm so happy that I ventured out beyond the Royal Ballet - which is my home, and I love it - but I would never have pushed myself outside of my comfort zone.
I was always nervous about coming back to Australia which was a complete hangover of the days when I left when ballet was not accepted, when I was not accepted, when I was considered a freak for wanting to be a ballet dancer. And, to be 100% honest, I rather dreaded coming back.
I knew I wanted to be a ballet dancer, but what kind, I wasn't sure. My two dream companies had been New York City Ballet and American Ballet Theater.
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