Interview with Gerard Mosterd by Jolanda Stellingwerff for “Vrije Tijd” (Translated from the original Dutch version by Paul Goodman.)
Amersfoort , the Netherlands   |   April 2002

After having danced successfully with the Royal Ballet of Flanders, London Festival Ballet (later: English National Ballet), Concordanse in Paris and the Basle Ballet, Amersfoort doesn’t seem to be the most logical next step. But Gerard Mosterd (1964) chose Amersfoort as his home base after a dancing career abroad.

Although he’s been raised as a citizen of Amersfoort , London or Paris would be more of a right choice. Returning to his place of birth was a decision Mosterd took first and foremost driven by his feelings. “It’s not always clear why a man feels attracted to something”, Mosterd says. “If you would ask me why I became a dancer I wouldn’t be able to give you a clear answer either. Dancers are often emotional people and they react mostly intuitively. This applies also to me.” Since 1996 Gerard Mosterd has worked mainly as a choreographer.

From a distance life as a professional, international dancer looks like a fairytale.

Beautiful costumes, performances around the whole world in famous theatres, working with the most sought after choreographers (such as Mats Ek and Jiri Kylian) and dancing in top notch productions. And what’s more: evening after evening fascinating full houses with the movements of your body. On the down side there is the mutual fighting among each other for the best roles and the daily struggle of the body to perform continuously at peak-level.

“It is possible to compare high level dancing with a top sport like athletics” Gerard Mosterd says. “Physically, emotionally and mentally one has to endure continuous stress. “

As a disadvantage he names the necessity to be always available. “It’s not a nine to five job”, he says. “You’ve got to learn all the roles so when you arrive at home you’ve got to continue. It’s not very Dutch to work like this. Dutch people are economists and dance is not economical, logical or necessarily orderly.” In spite of these disadvantages the ethereal aura of theatre keeps on exercising its seductive attraction. To undergo this other dimension, which takes shape on stage, is finally the most important aspect.

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