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Within the hushed ambiance of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's posture is effortlessly upright, his arms muscular beneath a simple white T-shirt. During performances, dancers can seem like powerful deities, yet frequently in person they are small. Not so Ball, whose tall stature is part of his demand for heroic roles and partnering. Possessing delicate traits and intense eyes, there's a touch of a brooding actor about him.

An Apparent Rise to the Pinnacle

At 31, Ball is experiencing the peak of a career that has advanced seamlessly. Raised in Liverpool, he faced minimal ridicule for his early interest in ballet. Entering the esteemed training institution at 11, he moved directly into the company and was promoted annually, attaining the highest position of principal in 2018. He has loved taking on meaty dramatic roles, especially the psychological turmoil found in Kenneth MacMillan's works.

"Your breath is short, your legs get heavy, but it’s really a mental fatigue."

His upcoming starring appearance is in a talk, in an "In Conversation" series aiming to offer behind-the-scenes perspectives into a performer's craft. He will guide the crowd through a part, demonstrating his cognitive workflow during performance. Yet in lighter works, the test is significant. "A classic ballet is one of the most demanding from a skill perspective," he notes.

The Psychological Game and After the Show Emotions

How does he feel after a show, when he has succeeded? "It feels pretty good," he admits. "However because I'm trying to squeeze all the juice out of it, and get immersed in the character, quite often I do feel embarrassed afterwards. After an intense role I'm always thinking: Wow, what must people think?"

Offstage, Ball is reflective, polite, and quick to laugh at himself. Yet a dance maker once observed on a "sense of suffering in him." Does this exist? "I'm quite energetic usually, but I do have a melancholy streak," he reveals. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an instigator for good change."

Formative Drivers and Creative Inspirations

Ball's tenacity stemmed from early experiences. Not excelling in competitions at school made him "driven!" It was motivation to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he remembers.

An upcoming challenge is making his own choreography. In his view, "organic movement has value." "Challenging the rules is compelling, but just acting that they’re not a thing any more – I don’t know how far you can go with that." He wants his work to be loaded with substance, drawing inspiration from books, music, and art.

Close-Up Performance and Private Partnership

He additionally is interested in presenting dance in smaller venues. "It was just really thrilling," he says of a previous show. "You’re so near to the audience. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"

Ball has created pieces with his girlfriend, fellow principal Mayara Magri. The level of trust between them is clear. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." The couple aren’t usually matched on stage at their main theater, which might be healthy. "We’re both quite determined people, so it’s not always smooth sailing," he notes. "But I feel like we’re each other’s biggest supporter."

Regarding Instagram and Bodily Perception

On social media, fans can see clips from his projects and photos that highlight a athletic physique. Does he mind that the response can be somewhat focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he states. He relates it to viewing Michelangelo’s David—something that can be interpreted on various ways.

Ball characterizes his younger self as "desperate for success." Has it met his expectations? "I am conscious of how reality is a separate reality to the aspirations you made as a young person," he muses. He probably has about ten years of dancing ahead. "I suppose in the future, I want to be a bit more kind with myself."