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EVERY.BODY. U predstavi Every. Body. Urs Dietrich posmatra mogućnosti telesnog pokreta radoznalošću istraživača i ispituje gipkost tela od glave do pete u mnoštvu slika. Ovaj postojeći imaginarni kaleidoskop obuhvata nove perspektive raznolikosti uzbudljivog stvarnog stanja delova tela i tela kao celine kroz nestašne letove mašte. "Koreografija za ovaj komad predstavlja lepršavo stanje mesečine u kojem su tela (igrača) izložena opasnosti kako bi se ponovo stvorila. Crnilo scene i kostima, oskudno osvetljenje, uobličava ih u statue koje se raspadaju i ponovo radaju. Pokretljivost se ne siavi radi pokretljivosti, ved se istražuje samopouzdan kreativni pristup potencijalima tela, probijajući se kroz korset ustanovljene ekspozicije. Diefrichova radoznalost, inventivnost trenutka, snaga mašte i sposobnost njegovih igrača daju komadu intrigantnu mod." Edith Boxberger, “Frankfurter Allgemeine Zeitung" "lako Dietrich dopušta sebi samo 65 minuta, komad podinje polako - i horizontalno. Igradi se kredu po tlu kao kreature bez udova, kao larve ili foke. Bosa stopala sjaje u tami poput zlatnih očiju ili perca na repu. Štaviše, Dietrich oslobada ljudsko bide od njegovog normalnog nadina kretanja; u formi pingvina, madone ili gejie - dak i Nedega. Energija i savršenstvo kojima igradi ovo postižu ispunjava doveka divljenjem." Barbara Kern, "Die Tageszeitung" "Ove scene koje se odnose na telo i njegove pokrete su nenametljivo i šturo rasporedene u ovoj 65-ominutnoj predstavi; one stoje u pozadini u korist distog plesa. Prošlo je dosta vremena otkada smo videli tako snažnu i predivnu igru u nemadkom piesnom pozorištu. Igradi se kredu evokativno i sa punom izražajnošdu u elegantnim i prozirnim kostimima Katrin Plotzky i Ursa Dielricha, klize nežno po pozornici ukrašenoj crnim zavesama." Alexandra Albrecht, “Weser Kurier" "Ansambl sa izvanredno osedajnim lidnoslima izuzetnih plesadkih sposobnosti." Imela Kastner, "Die Welt" “Proudavanje komada mesa izmedu kostiju apsolutno nije suvoparno, ved veoma muzikalno plesno delo na novu kamernu muziku Bernharda Cavanna, Lajka Felixa, Georga Friedricha Haasa, kao i Terrya Rileya, pored ostalih. Razlikuje se od blistavog komada Versus od prošlog proleća na koji se predstava Every. Body. temalski odnosi, u tom pogledu što je narodito nepretenciozna i apstraktna i možda baš zbog tog razloga, sažetija i doslednija." Lilo Weber, "Neue Zuricher Zeitung"

movements, are unobtrusively and sparingly distributed across the 65-minute production; they stand back in favor of pure dance. It is a long time since we saw such intense and beautiful dancing in German dance theatre. The dancers move evocatively and full of expression in the elegant and sheer costumes of Katrin Plotzky and Urs Dietrich, they glide gently across the black draped stage." Alexandra Albrecht, "Weser Kurier" "An ensemble with remarkably sensitive and highly athletic dance personalities." Irmela Kastner,"Die Welt" "This study of the joints between the bones is absolutely not bone-dry, but a highly musical dance piece to new chamber music by Berhard Cavanna, Lajko Felix, Georg Friedrich Haas, Tery Riley among others. It differs from the glaring Versus last Spring, to which Every. Body, is thematically related, in that it is particularly unpretentious and abstract, and perhaps for that very reason conciser and more consequent." Lilo Weber, "Neue Zuricher Zeitung“ “In his new choreography Every. Body., the new chief of the Bremer Tanztheater dissects the body and its movements, studies the dance of limbs to the limit of their capacity, amusingly refutes the general opinion that dance originated in the feet, through continual new experimental arrangements. Dietrich shows us the way to the amusing perception and (renewed) conciousness of the wonder of the body with his new group, an excellent team of ten dancers.” Klaus Witzeling, "Hannoversche Allgemeine Zeitung" URS DIETRICH Born 1958 in Visp/Switzeriand. Advanced training in textile printing- and costume design, 1981-1985: Student at the