Tuning in…
Tuning in…
Castaway
1 appearance
South African ballerina who joined Sadler's Wells Ballet and chose to dance Giselle over an acting career.
On the island
Eight records
Orchestra of the Royal Opera House, Covent Garden
Identified from context: Nadia Nerina discusses dancing Giselle, and the choice of music is implied by her earlier decision to 'dance Giselle' – but no explicit disc content is given in the transcript. This disc is not mentioned; skip.
The keepsakes
No book or luxury recorded for this episode.
In conversation
Presenter asks
1:47What do you remember about the decision you had to make between dancing and drama when you won the scholarship?
I had to have something to think about, and so I concentrated more and more on the drama… There came this time when I won this enormous uh scholarship to come to England as an actress… I had a nervous breakdown deciding whether I'd prefer to come to England to dance Giselle or to play Lady Macbeth… And I chose the the former.
Presenter asks
3:16It was said of you in your early days as a dancer that your technique was ahead of your emotional power. Looking back, do you agree?
Yes, I I will. They did say one time I was the greatest technician in the West, but this is because I believe that you have to conquer technique and be above it, as it were, before you can express yourself as an artist. And so I did set about in my early days working on technique, and then you can Express uh your own emotions and your own individual qualities.
Presenter asks
3:51Is there any one role that you look back on as your big opportunity?
No, I think really when I look back, I look back on performances in my career when everything has been right, so to speak, and to me the music is the most important part of my performance, and when the conductor is really on top form and the orchestra is playing absolutely beautifully. This inspires me too to give a performance which is of a higher level than uh the current performances I'm giving.
Presenter asks
6:28You've been partnered by many fine dancers. It must mean varying your own performance enormously when you change partners.
Oh, it does, completely.
Presenter asks
6:38Which is your favourite role? Which ones do you look forward to?
That's that's a difficult question because I always seem to feel at the time I'm dancing a a character that that is the the person or the character that I I love most. I have a soft spot for one character, because I think it's because I created her, and that's Lise in La Fime al Garde. Then there's the romantic and very gentle and superstitious Giselle, Wilfil Swanhilda, from the Valley Coppalia, And of course the soulful Odette in Swan Lake and the Enchantress and Wicked Odeal from the same ballet.
Presenter asks
7:28Do you read criticisms and do you take any notice of critics?
Well, I I've always had a sort of way of thinking about it because they they're so changeable. They're like the weather. One minute they're hot, blow hot, and one minute they blow cold. And uh I really think they're as good as their last notice that they've written on me, so you know… Depends on what they write.
“I had a nervous breakdown deciding whether I'd prefer to come to England to dance Giselle or to play Lady Macbeth.”
“I believe that you have to conquer technique and be above it, as it were, before you can express yourself as an artist.”
“I love dancing out there because it's my country, but um Unfortunately, four years ago I was out with our own company and I was dancing in Johannesburg… And that's the reason why, until it's changed and things are made happier for everyone to see performances, I wouldn't dance in South Africa.”
“I really think they're as good as their last notice that they've written on me, so you know.”