Dec 192013


When did you start dan­cing?
My soc­cer coach told me I was a bal­let dan­cer on the field. So accord­ing to him around 6; but with actual dan­cing, amateur-wise, at the age of 8.

Why did you start dan­cing?
Because I enjoyed it. Music moved me a lot as a child and I was always dan­cing around in our liv­ing room at home. One day my mom asked me if I would like to go to dance class. But no, I thought that was for girls. After a while she asked me again and then I gave in. Thank god smiley laughing Marijn Rademaker answers the Gramilano Questionnaire… Dancers’ Edition

Which dan­cer inspired you most as a child?
I know it’s bor­ing, but it was Nureyev (for instance in his adagio Swan Lake solo), and Bary­sh­nikov in Balanchine’s Theme and Vari­ations, and other pieces of course.

Which dan­cer do you most admire?
A dan­cer who is com­mit­ted to dan­cing, who respects the style of a bal­let or cho­reo­grapher, who doesn’t give up and works his ass off and cares about the art of dan­cing, the qual­ity and not the quantity.

What’s your favour­ite role?
Armand Duval in Neumeier’s Lady of the Camel­lias, Romeo in Cranko’s and Iago in Neumeier’s Oth­ello.

What role have you never played but would like to?
Le jeune Homme in ’s , and One­gin.

What’s your favour­ite bal­let to watch?
I really don’t know. It’s really hard to watch bal­let for me smiley laughing Marijn Rademaker answers the Gramilano Questionnaire… Dancers’ Edition I really enjoyed ’s Chroma. Most Cranko bal­lets, because they are so easy to read and beautiful.

Marijn Rademaker with Sue Jin Kang and Marcia Haydee Shanghai Lady of the Camellias 500x335 Marijn Rademaker answers the Gramilano Questionnaire… Dancers’ Edition

Mar­ijn Rade­maker with Sue Jin Kang and in Shang­hai rehears­ing Lady of the Camel­lias -
photo by Patri­cio Melo

Who is your favour­ite cho­reo­grapher?
Cranko, Neumeier, Goecke, McGregor, van Manen.

Who is your favour­ite writer?
I don’t read smiley laughing Marijn Rademaker answers the Gramilano Questionnaire… Dancers’ Edition

Who is your favour­ite actor?
Ryan Gos­ling, Anthony Hop­kins, Meryl Streep.

Who is your favour­ite singer?
Birdy, Queen.

What is your favour­ite book?
Stieg Larssons Mil­len­nium books

What is your favour­ite film?
The Place Bey­ond the Pines, The Note­book, Legends of the Fall.

Which is your favour­ite city?
Ams­ter­dam, Bangkok.

What do you like most about your­self?
Are you really going to ask me that ques­tion?… That I work hard.

What do you dis­like about your­self?
That I take myself way too ser­i­ous sometimes.

What was your proudest moment?
Dan­cing in the music theatre in Ams­ter­dam for the first time with .

When and where were you hap­pi­est?
This is an impossible ques­tion smiley laughing Marijn Rademaker answers the Gramilano Questionnaire… Dancers’ Edition I have been happy in many moments of my life. On stage, after a show or dur­ing, or in the sum­mer break look­ing down from a 2,700m moun­tain. I don’t know which one was the happiest.

What or who is the greatest love of your life?
I think it’s move­ment and great music combined.

What is your greatest fear?
To die real­iz­ing I was a cow­ard my whole life.

What do you con­sider your greatest achieve­ment?
Turn­ing 2 pirouettes smiley laughing Marijn Rademaker answers the Gramilano Questionnaire… Dancers’ Edition

What is your most treas­ured pos­ses­sion?
After my Pier­rot Lun­aire première Glen Tet­ley wrote me a let­ter, and that let­ter ended with the words, “To our next adven­ture together’! And then he passed away. So I really treas­ure that letter.

Marijn Rademaker class 332x500 Marijn Rademaker answers the Gramilano Questionnaire… Dancers’ Edition

Mar­ijn Rade­maker in class

What do you con­sider the most over­rated vir­tue?
My grand­mother had so many vir­tues. She was kind to all, didn’t judge, helped every­body, was extremely dis­cip­lined and you could trust her a 100 per­cent. She was amaz­ing. I wish I could ask her, how that was for her. To be so truth­fully nice to all. Did she loose her­self a little by doing that?

I don’t know..

On what occa­sion do you lie?
I’m not gonna tell smiley laughing Marijn Rademaker answers the Gramilano Questionnaire… Dancers’ Edition

If you hadn’t been a dan­cer what would you have liked to be?
Soc­cer player, violin or piano player. As a kid I wanted to be a baker of bread because it always smelled so great in the bakery, or a bus driver because I thought the big steer­ing wheel and all the but­tons were so cool smiley laughing Marijn Rademaker answers the Gramilano Questionnaire… Dancers’ Edition Not any­more though….

What qual­ity do you most value in a friend?
Hon­esty, hav­ing fun together.

What qual­ity do you most value in a col­league?
Being professional.

Which liv­ing per­son do you most admire?
Our little Geor­gette Tsin­guirides! She is the choreo­lo­gist in Stut­tgart and was dan­cing in Stut­tgart even before Cranko came as a dir­ector. She now sets his all his bal­lets with us and all over the world. She is over 80 years old, wear­ing a bal­let tricot with grace and always looks amaz­ing, I am cur­rently learn­ing the role of Petruchio in Cranko’s Tam­ing of the Shrew and I am work­ing with her a lot. It’s aston­ish­ing to see what she does in the stu­dio (where she is the whole day every day). She knows ALL the steps by heart, all the counts and can play every char­ac­ter in the bal­let. And not just hint to what the char­ac­ter should be, no, she IS that char­ac­ter. She even does the dif­fi­cult Cranko lifts in Tam­ing……!!! But the most amaz­ing thing about her is, that she knows what Cranko would have wanted and she passes that on to us with the highest respect for it.

Wayne McGregor: I just have a lot of respect for him. He knows pre­cisely what he is doing. There is no non­sense. He comes in the stu­dio, and he wants to work. And he does. So we do too smiley smile Marijn Rademaker answers the Gramilano Questionnaire… Dancers’ Edition He’s highly cre­at­ive and ima­gin­at­ive, extremely pro­fes­sional, always cre­at­ing some­thing great. And he is a very kind and very funny per­son on top of that. Just lots of respect.

What do you most dis­like?

What tal­ent would you most like to have?
I would love to be extremely, highly intel­li­gent. (not that I’m all that dumb, but still…)

What’s your idea of per­fect hap­pi­ness?
It changes all the time. I think hap­pi­ness is over­rated. I don’t expect too much of the idea “hap­pi­ness”. I think these are short moments and I cher­ish them when they come by.

How would you like to die?
Quietly, with no pain.

What is your motto?
Don’t have one.

Mar­ijn Rade­maker — a biography

Mar­ijn Rade­maker was born in Nijme­gen, Neth­er­lands. He star­ted his bal­let train­ing in Nijme­gen and then went to the National Bal­let Academy in Ams­ter­dam (1991–1992). After­wards he was trained at the Arnheim Insti­tute for the Arts (1992–96) and com­pleted his stud­ies at the Royal Con­ser­vat­ory in Den Haag in 2000. In 1998 and 1999 Mar­ijn Rade­maker took part in a bal­let com­pet­i­tion of the “Young Dan­cer” found­a­tion of Alex­an­dra Radius and Han Ebbe­laar where he won the Grace Prize in 1999.

In 2000/2001, Mar­ijn Rade­maker became a mem­ber of the Stut­tgart Ballet’s Corps de bal­let. At the begin­ning of the sea­son 2004/05 he was pro­moted to Demi Soloist. At the begin­ning of the sea­son 2006/07 he was sup­posed to be pro­moted to Soloist but after his highly suc­cess­ful debut as Armand in The Lady of the Camel­lias () in July 2006, Reid Ander­son pro­moted him imme­di­ately to Prin­cipal Dan­cer after the performance.

Marco Goecke cre­ated the Solo Äffi for Mar­ijn Rade­maker, which he danced for the first time at a Gala in Arnheim. For this solo he was named “Young Dan­cer to watch” in the crit­ics’ choice of the magazine bal­let­tanz 2005. In 2008 he was named sev­eral times in the cat­egory „Out­stand­ing Dan­cer“ in bal­let­tanz, above all for his cap­tiv­at­ing per­form­ance of Jago in John Neumeier’s Oth­ello. Just one year later he was named again twice in the cat­egory “Best Dan­cer”. In Novem­ber 2006 he won the Ger­man Theatre Prize “Der Faust” in the cat­egory “Best Per­former Dance” which has then been awar­ded for the first time. Only one year later he received the hon­or­able Ger­man Dance Prize “Future” 2009. In July 2009 he was awar­ded the inter­na­tional dance prize “Pre­mio ApuliArte”.

Mar­ijn Rade­maker joined the Stut­tgart Bal­let on tours all around the world. In addi­tion to that he receives invit­a­tions to inter­na­tional galas and guest per­form­ances. In May 2007 John Neumeier invited him to dance the role of Armand Duval in his The Lady of the Camel­lias together with the Ham­burg Bal­let and Sue Jin Kang as Mar­guer­ite Gau­tier. At the 34th Nijinski-Gala in the course of the “Ham­burg Bal­let Days 2008” he danced excerpts as Tadzio in John Neumei­ers Death in Venice together with Lloyd Rig­gins as Aschen­bach. In the sea­son 2008/09 he per­formed the title role in Heinz Spoerli’s Peer Gynt as a guest with the Zurcher Bal­let which has also been recor­ded for tele­vi­sion and a DVD-production. In Janu­ary 2011 Mar­ijn Rade­maker was guest­ing at Het Nationale Bal­let Ams­ter­dam where he danced in The (Sir Peter Wright nach Marius Petipa) together with Maia Makhateli. Since the sea­son 2011/12 he is dan­cing as a per­man­ent guest with Het Nationale Bal­let Amsterdam.

For the Noverre-Society’s “Young Cho­reo­graph­ers” Mar­ijn Rade­maker cre­ated his first own cho­reo­graphy in May 2012: the Solo Odium? was danced by Stut­tgart Ballet’s dan­cer Robert Robinson.


Fol­low Mar­ijn on Twit­ter and Face­book.

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