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Sofort geniessen

‹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 

Concept / Performance

Tabea Martin und Matthias Mooij

Artistic Team

Manuel Scheiwiller 

Set

Jean Marc Desbonnets

Costume

Mirjam Egli

Dramaturgy

Peter-Jakob Kelting

Production

Bea Ackermann/North By North West Kulturprojekte 

Assistance

Mia Sanchez

This is my last dance

Beyond Indifference

Beyond Indifference

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

Franziska Ruoss

produktion_at_tabeamartin.ch

+41 78 920 06 84‬


On Tour


This is my last dance

A duet by and with Tabea Martin and Simona Bertozzi. 


Inspired by Samuel Becketts one-act play Endgame.


Two women are standing on an empty stage. They are searching for something and being confronted to their own end at the same time. Before they have even started dancing, the end is already present. Silence. Emptiness. Fragments. But with the humor it needs in order to keep going.

Concept

Tabea Martin

Dance / Choreography

Tabea Martin, Simona Bertozzi

Beyond Indifference

Premiere

10.12.2016 Kaserne Basel (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, Christian Guerematchi, Carl Staaf, Donath Weyeneth

Music

Donath Weyeneth

Pink for Girls & Blue for Boys

Premiere

2.2.2016, Tanzhaus Zürich (CH)

Upcoming shows

1. & 2.2.2019 Centro Cultural de Bélem (POR)

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, Pauline Briguet/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

to be announced

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

Ryan Djojokarso, Christian Guerematchi 

Thank you! –

for stopping by


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