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školovanje bilo je iz oblasti tekstilnog dizajna. Od 1981. do 1985. godine studirao je na visokoj školi Folkwang u Esenu, odsek za pies. Godine 1986, boravio je šest meseci na studijama u Njujorku. Od 1988, godine je slobodni plesač 1 koreograf, Urs Dietrich je kreirao mnoge grupne koreografije i solističke plesne komade, koje je prikazivao u Evropi, Aziji i Južnoj Americi. Sa Susannom Linke je od 1994. do 1996. godine preuzeo vođenje Plesnog teatra u Bremenu. Narednih godina je radio u kontinuitetu u Bremenu kao gostujući koreograf, Od početka sezone 2000/2001, Urs Dietrich rukovodi Plesnim teatrom u Bremenu, RADOVI Hiob (1984), Das Kalte Gloria (1988), Affekte (1988), Effekte (1990), Sanguis (1991), Onno (1992), Und der Sommer Zog Gen Suden (1993), Einmal Elysium - Einfach (1994), Das Kalte Gloria, Fassung II (1995), Echo (1995), Da war pldtzlich....Herzkammern (1995), Die Langsamkeit des Augenblicks (1996), Do Re Mi Fa So Latitod (1997), Moment mall (1998), An der Grenze des Tages (1998), P(Etleas) und M(Elisande) (1999), Sturmgeftuster (1999), Versus (2000), Ein.Dutz.End (2000), Everybody. (2000), Passionen.Passagen (2001), Appettit (2001), Sanguis (2002) “Urs Dietrich je izuzetna ličnost na nemačkoj i medunarodnoj plesnoj sceni, Dok mnoštvo savremenih plesnih stilova, koji staino tragaju za inovacijom, suviše brzo procvetaju i uvenu, solo-izvodač i koreograf Urs Dietrich, idući protiv toka, koncentriše se na jednostavan i bitan pokret. To nije ništa manje nego krajnja, konačna vidljiva linija suštinske slike, Dietrichov način je u svakoj koreografiji retour a la verite." Maive Gradinger "Život je za njega jedini gospodar njegove umetnosti, zasnovan na prirodnim, organskim faktorima ljudskog tela i njegov svet individualnih ideja i osećanja, koji traži nerešene kontradikcije i želje. Umesto suptilnog komplikovanog Pas de deux ili zamajavanja oko lepih grupnih šablona, Dietrich tiho i tačno posmatra svoje bližnje i okolinu. On se neprestano pita: šta je telo? Šta nam njegov red znači u životu i društvu? On je okupiran ijudskim sadržajem plesa, a ne zabavom kroz virtuoznost, kojom dominiraju nestašne sitnice forme." Klaus Witzeling, Pohvala povodom dobijanja Kuri-Hubner nagrade koju dodeljuje Bremer Theaterfreunde, 1999. "Urs Dietrich dobija inspiraciju za svoje kore.ografije iz svakodnevnog života, situacija i slika koje bude njegove asocijacije koje se tokom koreografskog process destilišu u izraz. Iza svakog njegovog pokreta je tadka koja ne dozvoljava pokret radi pokreta. Nosilac i posrednik njegovih koreografija nije igrač, vec ljudsko bide koje igra." Dr Patricia Stockemann

Gen Sudan (1993), Einmal Elysium - Einfach (1994), Das Kalte Gloria, Fassung II (1995), Echo (1995), Da war plotzlich... Herzkammern (1995), Die Langsamkeit des Augenblicks (1996), Do Re Mi Fa So Latitod (1997), Moment mall (1998), An der Grenze des Tages (1998), P(Elleas) und M(Ellsande) (1999), Sturmgeftuster (1999), Versus (2000), Ein.Dutz.End (2000), Every. Body. (2000), Passionen.Passagen (2001), Appettit (2001), Sanguis (2002). "Urs Dietrich is an exceptional figure in the German and international dance scene. Whereas a multitude of contemporary dance styles, continuouesly searching for innovation, all too rapidly bloom and wither, the soloperformer and choreographer Urs Dietrich running against the stream, concentrates on the simple and the essential gesture. That is nothing less than the utmost, the final visible line of the intrinsic picture. Dietrichs way is in every choreography a retour a la verite." Malve Gradinger "Life is for him the only master of his art, based on the natural, organic factors of the human body and his world of individual ideas and feelings, seeking the unsolved contradictions and wishes. Instead of subtilizing complicated Pas de deux or fussing over nice group patterns, Dietrich quietly and exactly observes his fellow creatures and his enviroment. He asked himself again and again: What is the body? What does its order mean in our life and in our society? He is concerned with the human content of dance and not with entertainment through virtuosity, dominated by playful trifles of form." Klaus Witzeling, Laudation on the occasion of the award of the Kurt-Hubner-Prize by the Bremer Theaterfreunde, 1999. “Urs Dietrich gets the inspiration for his choreographies from everyday life, from situations and pictures that evoke his associations, and during the choreographic process distil to a statement. Behind each and every one of his movements is a point which does not allow movement for movement's sake. Not the dancer, but the dancing human being is the bearer and mediator of his choreographies." Dr. Patricia Stockemann