A Quote by Shirley Eaton
My mother sent me to dance and drama classes when I was young, and then I got a stage role in 'Set To Partners' when I was 12, followed by Benjamin Britten's 'Let's Make An Opera.'
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I was really creative. I started to dance very young. I loved to dance. I begged my mother to put me into dance classes, and finally, in third grade, she did. Tap and jazz, but not ballet.
I was 16 when I got a scholarship to study classical composition at a conservatory. By that time I had already listened to Scottish folksong with my mother, sung in church choirs, and had sung solo with Benjamin Britten conducting.
I actually got started in acting when I was in pre-school. I was really into dance and performing, so my mom had me in dance classes, and then I got involved in a local theater company.
First, my frame of reference for the Britten opera shifted. I'd always thought of Britten's approach in Death in Venice as another exploration of the plight of the individual whose aspirations are at odds with those of the surrounding community: his last opera returning to the themes of Peter Grimes. As I read and listened and thought, however, Billy Budd came to seem a more appropriate foil for Death in Venice.
My mother sent me to art classes at the age of 11. I began to have kids around me say, 'Will you make drawings for me? Will you make a painting for me?' And it really clicked.
I'm not sure any narrative model has been more important for me than Benjamin Britten's chamber operas.
My mother really pushed me when I was young. I didn't want to go to dance classes, but for some reason, when I was there, I didn't want to come back.
When I was doing 'Beau Travail,' I listened a lot to Benjamin Britten.
Someone told me about drama schools, and they seemed like mythological places - you can really go and be in drama classes all day? I inadvertently entered into this world where people wore bicycle clips and did song-and-dance routines in the corridors.
When I was really young, my mom enrolled me in dance classes. "Mom, I'm too young to dance," I told her. She kind of forced me, but I ended up loving it, and after the ?rst lesson I came back and said, "Come on, Mom, I'll show you the box step." That introduced me not just to dancing but also to working with someone without having a goal.
My mother had been a country and western singer but when she moved out to Hollywood found it very difficult to get work so when I was born they put me into dance classes and singing classes as soon as I could walk actually.
I'm not naturally a gifted dancer, and I don't enjoy it. I didn't go to any of those classes in drama school 'cause I was like, "I'm not going to dance. I don't need to learn to dance." I regret that.
I got into cello in the fourth grade, and I played that for years. I adored playing it. I got an opera coach when I was 12 because I really wanted to learn how to sing properly. The only proper way to sing, I thought at that age, was opera.
In England, there is this tradition of the upper classes going to very expensive drama schools and then going on having careers. I knew that wasn't an option for me. My mother would never have been able to afford that.
National parks, zoos, protected areas, polluted seas - using the whole world as a readymade, I thought about it as a stage set. To activate a stage set you need a drama, an actor to offset it.
Mentors and apprentices are partners in an ancient human dance, and one of teaching's great rewards is the daily chance it gives us to get back on the dance floor. It is the dance of the spiraling generations, in which the old empower the young with their experience and the young empower the old with new life, reweaving the fabric of the human community as they touch and turn.
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