This one was earned in August at the 5th Annual Seoul International Dance Competition by Joseph Phillips, a former student at the S.C. Governor’s School for the Arts and Humanities and a member of the world renowned American Ballet Theatre.

Phillips, 23, and originally from Columbia, is no stranger to chart topping.

While a student at the Governor’s School, he won the 2001 Jury Prize at the International Ballet Competition in Helsinki, Finland. In 2002 he earned gold medals at the USA International Ballet Competition in Jackson, Miss., the First Prague International Ballet Competition and at the Youth America Grand Prix in New York.

On the trip to Seoul, Phillips was accompanied by Stanislav “Stas” Issaev, master teacher and department chair of dance at the Governor’s School. Issaev, who continues to work with Phillips and prepared him for his latest quest, says that as Phillips, a cool customer, focused on a flawless performance, he, Issaev, was a nervous wreck.

Issaev, a renowned dancer in the 1980s, raked in his share of chart toppers and knows the pressure as well as the risks taken with each attempt at proving one’s talent.

He won the National Soviet Ballet Competition and the International Ballet Competition (1980). In 1983, he was named “Distinguished Artist of Russia,” and a year later garnered the Vaslav Nijinsky Prize as the year’s most distinguished male dancer in the world. In 1990, he was named “People’s Artist” by the Russian Republic, the highest artistic honor in the country. And as a master teacher, Issaev was recognized as Outstanding Teacher at the Youth America Grand Prix in 2002.

No wonder Phillips comes back to Greenville to work with Issaev, “for the hardest training you can imagine,” says the young ABT soloist.

Still, it is the mentor’s prerogative to worry about the road that lies ahead in such a career.

“I thought, ‘Oh please, don’t do it, because if you falter and only earn a bronze or silver it can ruin your current standing.’ ” It turned out that Issaev didn’t need to fret.

He says that when Phillips performed the variation from “Flames of Paris” at the competition in Seoul, “It was a done deal. He showed the prowess of a finished, polished artist.”

“I remember when he was 13 or 14 (Phillips was 10 when he started studying with Issaev), he told me nobody can stop him. It’s part of his nature, which I can’t explain other than he is in a constant search for perfection.” He’s also an exemplary ambassador for his country, Issaev adds. “A proud American blessed with grace and good taste.”

Reached at home in New York, Phillips agrees with Issaev about the risk of competing in Seoul, nevertheless, he couldn’t say no to his competitive side. “Of course you never know. You can always have an off day, and you only get one shot at it (the prize).”

Not to worry.

Phillips is garnering favorable reviews from New York critics, among them Clive Barnes, chief drama, dance and opera critic at The New York Post, who referred to Phillips as “a powerhouse” performer.

“It’s good to know that people like what I’m doing,” the dancer says.

His latest “doings” include a solo in the opening number of ABT’s “Merry Widow” at the Metropolitan Opera. “It was my Met debut,” he says proudly.

“I may be nervous before I go on, but once I hear the music I’m one with the dance and all else falls away. It’s just me, the music, and the audience for which I perform — and when they won’t let you off the stage with their applause, that’s an indescribable feeling.”