Dear friends and colleagues,
We would like to invite you to the reprise of the pieces Fugen and Solo for Lea by Isabelle Schad.
Both pieces are part of a series of works that Isabelle Schad subtitles as portraits and will be shown as Double Bill on the same weekend in HAU Hebbel am Ufer and Sophiensaele Berlin.
We would be very happy to see you here or there.
Thursday, 05.04.2018, 19:00
Friday, 06.04.2018, 19:00
HAU Hebbel am Ufer, Berlin (HAU3)
Solo for Lea
Saturday, 07.04.2018, 19:30
Sunday, 08.04.2018, 19:30
Fugen “… is a complex work that challenges both the choreographer Isabelle Schad and her audience in previously unseen ways. And thus creates opportunities to go beyond borders.” (Katharina Schmidt)
With Fugen, Berlin choreographer and dancer Isabelle Schad continues her work between musical concepts and their expression in movement. Coming from a music background and a lifelong interest in the polyphonic work of J.S. Bach, she attempts to look at her own (hi)story and the origins of (her) movement between discipline and pleasure. Fugen is an autobiographical work in which the performer’s body serves as an example for the construction of the individual within disciplines and systems one cannot escape from.
Solo for Lea, “A study in minimalism, a physical portrait and a sculpture in motion … a sublime draft.” (Elena Philipp)
Solo for Lea is a meeting between Isabelle Schad and Lea Moro. The work attempts to draw a very personal portrait of Lea Moro, dealing with the specificities of her body, its rhythms, its contours, colours and energies, playing with form-aspects of cubism and Picasso’s drawings in one dash. Together Schad and Moro engage in constellations of forming and disfiguring, in which the body itself becomes the stage: the space, place and matter that is the subject of observation.
Two shows by and with friends this week: Isabelle Schad’s première at HAU of Turning Solo with the brilliant Naïma Ferré, and Double Portrait, both of which I saw in June showings in Isabelle’s studio in Wiesenburg.
Dear friends and colleagues,
We would be very happy to see you.
- Berlin premiere / world premiere
- Friday, 15.12.2017, 19:00, HAU Hebbel am Ufer Berlin (HAU3)
- more performance dates:
- 16.12. 2017, 19:00
- 17.12. 2017, 19:00
- 18.12. 2017, 19:00
With Double Portrait and Turning Solo, Isabelle Schad continues a series of works which attempt to create distinct and personal portraits through a purely physical approach, moulding respective rhythms and energies into choreographed experiences.
Double Portrait — the portrait for Przemek Kaminski and Nir Vidan — seeks to form a solo for two persons with their bodies, movements and subjective rhythms. Each of them finds his prolongation in the other. In changing interdependencies a shared space defines self and other, intimacy and care, colliding forces and violence creating a web of connectivities. The work plays with aspects of Frances Bacon’s paintings, their complexity in visual rhythm, their intensity and immediacy.
Turning Solo — the portrait for Naïma Ferré — is based on her fascination with spinning for long periods. This whirling practice is brought into dialogue with Schad’s research around axial and weight shift, around inner movement material and its extension into the world, around energetic fields that characterise oneself and others. Little by little an initially minimalist study in movement becomes a shimmering jewel, a rotating sculpture, the choreographic portrait of a dancer.
Credits Double Portrait
concept and choreography: Isabelle Schad / co-choreography und performance: Przemek Kaminski, Nir Vidan / dramaturgical support: Saša Božić / sound: Damir Šimunović / lighting: Bruno Pocheron / stage: Isabelle Schad, Bruno Pocheron, Charlotte Pistorius, Thomas Henriksson (painting) / costumes: Charlotte Pistorius / head of production: Heiko Schramm / production defacto: Andrea Remetin
Credits Turning Solo
concept and choreography: Isabelle Schad / co-choreography und performance: Naïma Ferré / dramaturgical support: Saša Božić / sound: Damir Šimunović / lighting: Bruno Pocheron & Emese Csornai / costumes: Charlotte Pistorius / head of production: Heiko Schramm
Blog-posting from Isabelle Schad’s mailing list for all youse in Vietnam & Indonesia who didn’t know she’s touring & running workshops until now. Also various dates for various works across Germany and Europe.
Dear friends and colleagues,
we cordially invite you to the following performances and activities in autumn 2017.
We would be very happy to see you, here or there.
20.09.2017 / Europe meets Asia in Contemporary Dance / Hanoi (VN)
24. + 25.09.2017 / Europe meets Asia in Contemporary Dance / Ho-Chi-minh-Stadt (VN)
29. + 30.10.2017 / Komunitas Salihara / Jakarta (ID)
21. – 22.09.2017 / Goethe Institut / Hanoi (VN)
01. – 02.10.2017 / Goethe Institut / Jakarta (ID)
21. – 22.09.2017 / Lighting Workshop with Emma Juliard / Goethe Institut / Hanoi (VN)
16. – 18.10.2017 / Künstlerhaus Mousonturm / Frankfurt (DE)
Two new works from my good friend, Isabelle Schad,one this weekend, the other the end of the month. Both are early showings before their Berlin première at HAU in December.
All the deets:
Showing – Isabelle Schad: Double Portrait, mit Przemek Kaminski und Nir Vidan
Im Rahmen von informellen Showings werden erste Arbeitsergebnisse der für 2017 geplanten Neuproduktionen vorgestellt.
“Die Bilder sind eigentlich immer im Zwischenbereich, hybride, also nie eindeutig definierbar. Sobald ein Bild wirklich nur eine einzige Aussage haben kann, so eindeutig ist, dass jeder Zuschauer dasselbe sieht, versuche ich eigentlich immer etwas zu verändern oder dieses Bild wieder loszuwerden.”
— Isabelle Schad, Auszug Interview mit Wolfgang Horn, Theater: Ein Fest! Tanzplattform 2016, 3sat
Anfragen und Reservierungen unter: email@example.com
Isabelle Schad (Konzept, Choreographie), Przemek Kaminski, Nir Vidan (Co-Choreographie und Performance) Sasa Bozic (Dramaturgische Beratung), Damir Simunovic (Sound), Bruno Pocheron (Licht), Charlotte Pistorius (Kostüme), Heiko Schramm (Produktionsleitung), Andrea Remetin (Produktion defacto), Isabelle Schad (Fotos)
Uraufführung: Oktober 2017, Zagreb, Croatia
Berlin Premiere: Dezember 2017, HAU Hebbel am Ufer Berlin
There’s a scene in Episode 9 of Sense8 where Lito is sitting with Nomi before an early sketch of Man at the Crossroads in the Diego Rivera Museum in Mexico telling her how he lost his partner Hernando, while cutting to flashbacks of Hernando describing the history of of the mural, of art, and love before their first kiss.
Late-December, Isabelle says, “I’m going to Mexico.” I say, “You have to go to the Diego Rivera Museum.”
Even if she doesn’t make it there, she’s still in a museum, the Museo Universitario del Chopo, where she’s working with a group of local performers to develop and present a variation of the Collective Jumps / Pieces and Elements series. And if you are in Mexico City later next week, you can see it.
4th and 5th February 2017, 1pm
9th and 10th February 2017, 5pm
Personal Collective has been developed together with the performers from Mexico City under the artistic direction of Isabelle Schad, assisted by Julia Rodriguez for the site of the Museum el Chopo. Certain modules derive from the work Collective Jumps by Isabelle Schad and Laurent Goldring.
With: Daniela Urías, Patricia Marcela Herrera Román, Engelbert Ortega, Alvaro Pérez, Azhareel Sierra, Argelia Villegas, Uriel Isaac Palma Torres, Alberto González Etchegaray, Leticia Cordero Mote, Adrián Hernández, Gilberto Spindola, Mariana García, Citlalli Granados de León, Alejandro Ramírez, Edgar Landa, Karina Terán, Mónica Arellano, Daniela Flores, Marlene Coronel, Víctor Hugo Rivera.
Personal Collective is a collaboration by Isabelle Schad with Goethe-Institut Mexico and Museo Universitario del Chopo.
The unstoppable Isabelle Schad! One more new performance from her for 2016. I saw a rehearsal of Pieces and Elements last week and was well impressed. A Beautiful group of performers, a work continuing from her last group work, Collective Jumps, and from her most recent solo, Solo for Lea. One of the three I reckon you come to Berlin for. (Das Helmi, and Castorf/Fritsch/Pollesch/Marthaler at the Volksbühne are the other two. Yeah, I just made that comparison.)
Dear friends and colleagues,
We would like to invite you to the premiere of the new performance Pieces and Elements by Isabelle Schad at HAU Hebbel am Ufer Berlin.
We would be very happy to see you.
- Friday, 25.11.2016, 19:00
HAU Hebbel am Ufer Berlin (HAU2)
- Further performances:
- 26.11. 2016, 19:00
- 27.11. 2016, 17:00 (afterwards: Artist Talk with Isabelle Schad and Susanne Foellmer)
- 28.11. 2016, 19:00
In the new work Pieces and Elements a group of performers negotiates the collective body in motion that can only function as a whole. This body with its different parts and multiple connections serves as a possible reflection of nature where each element is in relation to all the others in order for the whole to exist.
Pieces and Elements deals with the fluid borderlines between a scientific, biological, cellular approach to the body and the one seeing the human body in relation to the cycle of nature and the five elements: water, wood, fire, earth and metal. It places itself between a western and an eastern point of view, between visual arts and the performing arts, between installation and choreographic miniatures. After Collective Jumps, the first part of the trilogy on collective bodies, which investigates the body as a site for forming community, Pieces and Elements considers the phases of change and nature as possible energetic means for becoming one: as body, as self or as a group.
In her recently premiered work Solo for Lea, Schad deals with a single figure as a portrait. Pieces and Elements draws on that experience, and focuses on the collective body as cubistic landscape, which can be considered at once as a space of transformation and as the event itself. We are approaching an oscillation between organism, apparatus and hybrid matter, between experience and sensuality, between utopia and reality.
- Concept & Choreography: Isabelle Schad
- Co-Choreography & Performance: Jozefien Beckers, Barbara Berti, Frederike Doffin, Naïma Ferré, Josephine Findeisen, Przemek Kaminski, Mathis Kleinschnittger, Manuel Lindner, Adi Shildan, Claudia Tomasi, Nir Vidan, Natalia Wilk
- Theoretical advice: Susanne Foellmer
- Dramaturgical advice: Saša Božić
- Artistic assistance: Claudia Tomasi
- Light design: Mehdi Toutain-Lopez
- Sound: Damir Simunovic
- Costumes: Charlotte Pistorius
- Costume Assistance: Maja Svartåker
- Assistance: Angela Millano
- Production management: Heiko Schramm
- Made possible by a long-term collaboration with Laurent Goldring.
Leaving the warm Sunday of Timișoara, into the grey, rain and cold of Münich, heading north, skimming above the clouds as the sun gutters, an inferno radiating across the hemisphere etching the stories and layers, we descend as it does into night in Berlin.
A little hung over. Out of Hotel Savoy mid-morning, hoping to get a better look at the science-fiction space station house, meandering through the streets of Calea Şagului, all late-19th, early 20th century houses and apartments — most in need of love and restoration — through Parcul Gheorghe Doja and along the tram lines to cross the Bega river back into Cetate. Around Catedrala Mitropolitană again, same for Piața Victoriei, then east-ish into parts of Timișoara I hadn’t seen. Plenty of super-attractive Modernist architecture of the International Style, Functionalist, and Brutalism lot, sits really well with the older, more ornate mixes of Art Nouveau / Deco, even older 17th century Baroque / 18th century Neoclassical — in places it reminds me of Vienna or Prague or Brussels, dead worth more than the two hours of wandering I had. Figure-8-ing my way past an attempt to find Muzeul Banatului (apparently closed for renovations?) back to Piața Unirii, into the side-streets of the north-west corner of the old city, and back to the whole reason I was in Timișoara: Opera Naţională Română, with its three theatre companies, Teatrul Naţional Timişoara, Teatrul Maghiar de Stat, and Teatrul German de Stat. Back to Hotel, and off to the airport.
Where we’ve been tech-ing and rehearsing since 9am, which was hidden in the early morning cold fog, then wrapped in warm afternoon sun, and finally bejewelled in lights at night when we left for dinner. The theatre crew are wonderful, like Teatro Comunale di Bologna, and Isabelle has a massive ballroom for a stage. Back tomorrow lunch-time to continue, then performance.