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2018

This is my last dance

Ein Duett von und mit Tabea Martin und Simona Bertozzi 


Inspiriert von Samuel Becketts Essay La Fin sowie dem Einakter Endspiel.


Beckett ist Inspiration für die Performance, die den Umgang mit dem eigenen Ende erforscht. Wie geht unser Körper mit dem Endzustand um? Wie überwinden wir die Angst und die Ausweglosigkeit?


Die italienische Tänzerin Simona Bertozzi tanzte lange bei Virgilio Sieni und hat ihre eigene Tanzcompagnie in Bologna. Seit der ersten Begegnung im Rahmen von Choreoram London 2008 begann der künstlerische Austausch mit Tabea Martin. Nun stehen die beiden erstmals zusammen auf der Bühne.  


Im Rahmen des Veranstalterfonds von Reso - Tanznetzwerk Schweiz


2017

Home-Tanzakademie Basel

Was ist Heimat? Was bedeutet der Begriff für junge Menschen? Ist es der Ort, an dem wir geboren sind, in dem wir leben?  

Ist Heimat in einer globalisierten Welt gar nicht mehr an einen besonderen Ort gebunden? Ist es vielmehr eine bestimmte Person, eine Sprache oder eine Atmosphäre?


Im Rahmen der ersten Tanzakademie Basel unter der künstlerischen Leitung von Tabea Martin beschäftigen sich drei Schulklassen unterschiedlicher Schulstufen und Ausprägungen während eines halben Jahres mit dem Thema Heimat. ‹Home› versucht persönliche, kleine Geschichten von jungen Menschen in Bewegung umzusetzen und tänzerisch zu untersuchen, was es in unserer Zeit heisst, nach Heimat zu suchen. 

2016

Beyond Indifference

Tabea Martins neues Werk beschäftigt sich mit der psychologischen Manipulation. In einer Welt, in der wir ständig mit Informationen eingedeckt werden und in der wir uns fragen müssen, ob die Informationen wahr oder manipuliert sind, ist es schwer, ein Gefühl für die Wahrheit zu entwickeln und zu behalten.


Aber was ist die ‹Wahrheit›? Wie gehen wir mit der Tatsache um, dass wir ständig durch Medien und Politik manipuliert werden? Wie geht der Körper mit der psychologischen Manipulation um? Was sind die Folgen dieser Manipulationstechniken? Gleichgültigkeit? Nihilismus? Das Problem der Manipulation ist im Wesentlichen ein Problem der Unfreiheit. Fünf PerformerInnen und ein Musiker bekämpfen diese Unfreiheit. Sie manipulieren, werden manipuliert und sehnen sich nach einem Moment der Wahrheit. 

2016

Pink for Girls & Blue for Boys

Ist pink nur für Mädchen und blau nur für Jungs? Was heisst es, ein Junge oder ein Mädchen zu sein? Dürfen die Mädchen weinen und die Jungs nicht? Können Jungs Bäume erklimmen und Mädchen nicht?


Wo fängt die Trennung der Geschlechter an und wann wird sie zur Ausgrenzung? Wie viel Mut braucht es, um für seine eigenen Ideen und Bedürfnisse einzustehen? Drehen wir das Ganze mal um und setzen wir keine Grenzen! Was geschieht dann? Das Stück fordert dazu auf, dem zu folgen, was zu einem passt und nicht dem, was andere als passend erachten. 


Die Produktion eignet sich für alle ab acht Jahre.

2015

Field

Drei Menschen entdecken, dass man ein gemeinsames Ziel haben muss, um ein richtiges Kollektiv zu werden und aus dem individuellen Leben auszusteigen. Aber was könnte dieses Ziel sein?


Tabea Martin beschäftigt sich mit dem Menschen und seinen Schwächen. Auf liebe- und humorvolle Art zeigt sie den menschlichen Körper verletzlich und sich selbst relativierend, verändernd. In Field entdecken drei Menschen, dass man ein gemeinsames Ziel haben muss, um ein richtiges Kollektiv zu werden und aus dem individuellen Leben auszusteigen. Aber was könnte dieses Ziel sein? Wofür soll man sich heutzutage engagieren? Die PerformerInnen versuchen nachzuvollziehen, was Menschen antreibt und was sie resignieren lässt. 

2013

Is anybody out there

A body. And an other one. A third is looking for some air. A fourth turns around. A fifth is called Carl. A sixth falls. All the others stand still. And when they exit. Nobody is waiting. Why don’t you go there and hug him. Why don’t you go there and be there.

2012

Empire of Illusions

We deny the truth to ourselves. We project onto others traits that are in fact true of ourselves and-then attack them! We repress painful memories, create completely false ones, rationalize immoral behaviour, act repeatedly to boost positive self-opinion and show a suite of ego-defence mechanism. Why? – Robert Trivers 


Empire of Illusions is a critical Performance about an amazing human phenomenon: the ability to deceive oneself. The ability to truly believe that something is true, although we know that it is not. Illusion is a place of refuge where you will find anything you need. Or everything you think you need. 

Most people demand much more of themselves than what they can deliver. More wealth, more knowledge, more skills, more courage, more time, more talent, more clarity and more power. In order to come to terms with yourself, you can deceive yourself into satisfaction. A good strategy is to compare yourself with other people who have achieved less than you. Create your own ‹ego-boost› by noting that the neighbour has a smaller home, a colleague has published less than you or a brother has married an uglier woman. 

2012

For the End of the World / Sweet & Tender

I want to stop for a moment. To stop what you cannot stop. And then to move on. But can one move on after an end?

2011

When you are dead you are done

‹Hey, everybody, let’s have some fun, you only live but once and when you’re dead you’re done, so let the good times roll› – Louis Jordan


The principle theme of the Swiss/Israeli co-production ‹When you’re dead you’re done› is the pleasure culture. In a world that is constantly threatened by war (Israel) or economical and environmental crises (western Europe) people turn easily to hedonists. They want to enjoy intensively what s left to be enjoyed because now it is still possible. Behind this hedonistic behaviour hides a great fear. The fear to lose something. One’s life, for example, or one’s way of life. When you’re dead you’re done is a research about how the different fears in Israel and Switzerland lead to different forms of hedonistic behaviour.  Because the fundament of this behaviour is fear, the joy that grows from it- is very fragile: any moment the enjoyment could end.

2010

Duet for two dancers

‹Duet For Two Dancers› untersucht den Beruf des Tänzers und stellt Fragen über die eigene Identität, den Status sowie die Angst nicht zu genügen.


Lets say. ‹I Am A Dancer›. And now try to repeat that sentence for about an hour. See if content and thought changed. What is it? Why is it important? A frame. Does it make things clearer? Or more confusing? 


‹Duet For Two Dancers› wirft einen Blick auf die Angst, eigene Erwartungen nicht auszuleben oder die Erwartungen nicht zu erfüllen, die der Beruf oder die Gesellschaft an einen stellen. Es interessiert der Mensch, der ständig am zweifeln ist, ob er oder sie den richtigen Beruf gewählt hat – das richtige Umfeld. Wer ist man noch, wenn man den Beruf nicht mehr ausübt? ‹Duet For Two Dancers› untersucht den Beruf des Tänzers und stellt Fragen über die eigene Identität, den Status sowie die Angst nicht zu genügen. 

2010

Sofort geniessen

We are not obliged to enjoy – Slavoj Žižek


‹Sofort geniessen›. If 30 years ago enjoyment was a reward for hard work, now we need it like the car needs its petrol. Pleasure drives us. We are the generation of pleasure. Our enjoyment is essential. Our pleasure lives from the constant change. But the more we base our lives on the hunt for the ultimate pleasure-kick, the paler the experiences seem to be. Here is our doubt: ‹Is the sun really so uniquely beautiful, as it was promised my Lonely Planet? Is sex with Beate, Klaus, Hans truly more breath taking than the one with Karin, Max, Murielle or John?› My partner falls from the sky and dies – or no, he doesn't die, he just injures himself so I can help him and I enjoy helping. Sofort geniessen – about enjoyment, abandonment and the fear not being able anymore to enjoy anything 

2010

Out of proportion

How should we live our lives? Bodies in fear. Longing for an explosion. Longing to experience something. Longing for something to happen. And therefore they hold onto each other. To feel something. To feel alive.The more we want to feel together, the more we feel alone.

Three bodies. One field. Fear connects them. And fear brings them apart. 


A performance research about the panic that something should finally happen in life. And the disillusion that the more you want to experience, the less you experience. <Out of Proportion> is
 a collaboration with Nina Glockner and Jelte van Andel. The performance was further developed in 2014.

2009

Rage

OK. So lets say. You are there and I am here. You take the upper body. And I take the legs. Then we run in opposite directions. For a very long time. And finally we go home. 


A Project on the necessity of rage. Jeder kann wütend werden, das ist einfach. Aber wütend auf den Richtigen zu sein, im richtigen Maß, zur richtigen Zeit, zum richtigen Zweck und auf die richtige Art, das ist schwer. – Aristoteles

We thought we have to dye our hair pink. We thought we have to run around, scream as loud as we can and then stop. We were naive.  We thought, we can be observers, scientists. And take a distance. We could.

2009

Keihard Kijken

A performance about three men that really want to achieve something. Something Big. Together. Right now. Something that might change everything. Or nothing. All they have is one piece of music. It helps them to see what they are and to see what they could be.

What do we see when we listen? What do we imagine? What is imagination and how does it appeal to us? Music is the starting point of this Performance. The piece of music is composed by Giovanni Bottesini 1821–1889. It is the third part (Allegro) of the concert  No. 2 in B minor for Double Bass and Orchestra, played by Edgar Meyer and the Saint Paul Chamber Orchestra. Bottesini’s music is virtuosic and melodic. The concerto No. 2 is surprisingly optimistic and within only five minutes it shows a whole range of different dynamics. The doubts, the euphoria, the all and the nothing.

An approach to seeing what we hear, to hearing what we see; to explaining what we hear, to understanding what we hear, to changing what we hear and to understanding what happens when we don’t hear or see anything. When we understand that there are so many ways of listening and watching something, how can we find out what we see or hear ourselves? How do we translate what we hear or see into thoughts?

2009

Everything that happens here happens here today

In a specially created series of daily events, Lucy Cash and Tabea Martin explored, through live performance and video, the public and private body. Responding to the citizens and town of Bassano, each day comprised of a 20–30 minute performance event, drawing on the languages of live performance and film.


The daily events took place in a single space, which gathered evidence of the diary as the week progressed. Each performance event stands on it s own and also works as an on going investigation for returning audience members. The events are playful and experimental and focus on the relationship between audience and performers.

Field

Field

Duet For Two Dancers

Duet For Two Dancers

Pink For Girls & Blue For Boys

Pink For Girls & Blue For Boys

Tabea Martin is active as a choreographer and performer in Basel, Switzerland. 

Contact

Tabea Martin

Production, Booking

Larissa Bizer

produktion@tabeamartin.ch

+41 78 691 57 77


On Tour


Beyond Indifference

Premiere

10.12.2016 Kaserne Basel (CH)

Upcoming shows

21., 23. September 2017, Theater Tuchlaube Aarau, Reithalle (CH)

Tabea Martin’s newest work, ‹Beyond Indifference›, questions our perception of truth. What can still be trusted in a world in which we can no longer trust anyone? How do we deal with continually being manipulated? 

Two parallel worlds exist on stage. On one side a fantasy world - a concert evening with glamorous, sentimental rock bands named ‹Crystal Eternity›, ‹El Toro Rojo› and ‹Aquarium Lovers› – and on the other side reality, with which the fantasy world is in continuous conflict. We see people who are either thrown into reality or flee from the fantasy world. A continuous interaction, always with different underlying manipulative strategies. People in the room who are sometimes victims and sometimes perpetrators. Who is manipulating whom, and for what purpose? What is the goal? Success? Prestige? A manipulative struggle for attention results in which no one wins.

Choreography

Tabea Martin

Dance

Maria Demandt, Paula Alonso Gomez, Tamara Gvozdenovic, Kiyan Khoshoie, Carl Staaf, Donath Weyeneth

Music

Donath Weyeneth

Pink for Girls & Blue for Boys

Premiere

2.2.2016, Tanzhaus Zürich (CH)

Upcoming shows

14.&15.9.2017, Theater Tuchlaube / Reithalle, Aarau (CH)
4.-6.11.2017, Vorstadttheater Basel (CH)
29.11.-3.12.2017, ADC - Salle des Eaux-Vives, Genève (CH)
11.,12.,13.1.2018, Maillon, Théâtre de Strasbourg — Scène européenne (F)

Which role does gender play? How many gender stereotypes are attached to children from a startlingly young age? Where does the gender divide begin and when does it start to exclude? How much courage does it take to stand up for your own ideas and needs and to realise them irrespective of society’s idea of what is ‹right› or ‹wrong›? ‹Pink for Girls & Blue for Boys› is a dance performance that deals with the gender question – great for young and old alike.

Choreography

Tabea Martin

Dance

Maria de Dueñas Lopez, Melanie Wirz, Miguel do Vale, Carl Staaf

Field

Premiere

9.4.2014 Festival Le Grand Bain, Lille (F))

Upcoming shows

to be announced

The more they are together, the more they feel alone. A performance about the tireless fight that something should happen in life. And the disillusionment that if something happens, then it’s not been the right thing. That the more you want to experience the less you experience. A performance that is trying to understand what drives people and how can we engage. A performance with three people who want to engage together. Who believe in the strength of being ‹together› and who finally fail in that wish or that attempt. It questions how we connect and communicate with others. It reflects on the impossibilities of these connections. Can one lose her or himself within the group? Can one give up on her or his individual thoughts? The performance shows a mechanism of tragedy and the inability to really meet one and another.


Choreography

Tabea Martin

Dance

Stéphanie Bayle, Luca Cacitti, Carl Staaf

Duet for two dancers

Premiere

11.9.2010 Gouvernestraat Rotterdam (NL)

Upcoming shows

18.11.2017 Tanz in Olten (CH)

Lets say. ‹I Am A Dancer›. And now try to repeat that sentence for about an hour. See if content and thought changed. What is it? Why is it important? A frame. Does it make things clearer? Or more confusing? 

  

‹Duet For two Dancers takes a look at the anxiety of not living up to your own expectations, or those which your profession or society in general impose on you. A look at the fear of losing yourself. And at what remains when all skills disappear. The freedom to choose different professions and identities is often a reason for insecurity and doubt. The overload of choices creates a kind of stagnation. The inability to choose forces the body to rest. In that way ‹Duet For two Dancers poses questions about ‹being a dancer› as well as ‹not being a dancer›.

Choreography

Tabea Martin

Dance

Gaetano Badalamenti, Christian Guerematchi / Ryan Djojokarso, Stefan Baier

Thank you! –

for stopping by


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