In September Tabea Martin develops a choreography with students of ZHdK Contemporary Dance.

The performances of FANTASIA will be shown on 13th and 15th December 2019 as well as on 28th and 29th February 2020 at Theater der Künste Zürich.


Passion - Sehnsucht der Frauen

Directed by: Anna Bergmann

Choreography: Tabea Martin

Ingmar Bergman's film comedy Secrets of Women portrays the happening of a summer holiday: A group of women that are all married to members of the same family are expecting the return of their husbands in their summer houses. In order to pass time, each one of them beginns talking about a specifix moment or their relationship.

Premiere: 5th October 2019 at Staatstheater Karlsruhe

Photo: Felix Grünschloss



A new piece by Tabea Martin for children & adults from 8 years of age

Premiere: March 21, 2019 Kaserne Basel


Betrunkene (Drunk)

Director: Elina Finkel

Choreography: Tabea Martin

The latest comedy from Siberian author Iwan Wyrypajew drives us to unimagined truths and offers us insights into the nocturnal intoxication of a European metropolis.

press reviews

Premiere: 19.5.2018 Theater Konstanz




Musical Director: Mario Venzago, Director: Stephan Märki, Choreography and Co-direction: Tabea Martin

Opéra comique in four acts. Libretto by Henri Meilhac and Ludovic Halévy based on a novel by Prosper Mérimée.

Premiere: 7. April 2018 Konzert Theater Bern



This is my last dance

A duet by and with Tabea Martin and Simona Bertozzi. 

Inspired by Samuel Beckett's one-act-play Endgame Tabea Martin has developed a duet which explores our dealing with mortality.


Nach uns das all

Collaboration with Sebastian Nübling & Sibylle Berg

Europe, at some point in the not too distant future: Nationalism and fascism have permanently established themselves on the decaying continent. A woman in her thirties is applying for a reality show whose participants are flying to Mars to build a new society. However, this seemingly last resort, in face of the increasing threat, is only available under certain conditions: to ensure propagation on the alien planet, the rocket can only be entered together with a partner …

After Es sagt mir nichts, das sogenannte Draussen (play of the year for 2013) and Und dann kam Mirna (Mülheimer Theatertage festival in 2015), Sibylle Berg’s 21st century anti-heroine prepares for her intergalactic exit and more or less enthusiastically takes up the search for a partner.

Premiere: 24/September 2017 at Maxim Gorki Theatre Berlin



Home-Tanzakademie Basel

Over a period of six months, three Basel school groups of different ages look at the different perceptions of what is ‘home’. 

A part of the ‹Home› project, children and young people translate their stories into movement and use dance to explore what it means to search for a feeling of home in today’s world.


Beyond Indifference

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? 


Pink for Girls & Blue for Boys

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 from 8 years.



Three bodies. One field. The 100 best love songs. They long for something to happen, for some explosion. They fight fiercely for love, for affection, for recognition. Startlingly athletic and dynamic, this trio is a battlefield. Limbs tangle like tentacles, as the dancers cling to and struggle with each other. But is it just a frenzy signifying nothing?

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. 


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.


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. 


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?


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.


Duet for two dancers

‹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. 

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? 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 Dancer› poses questions about ‹being a dancer› as well as ‹not being a dancer›.


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 


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.



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.


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?


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.

This is my last dance

This is my last dance

Beyond Indifference

Beyond Indifference



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. 


Tabea Martin

Produktion, Booking

Larissa Bizer

On Tour