Dasniya’s in Oldenburg with Das Helmi working on a new performance with the Staatstheater ensemble, a “progressive feminist science-fiction soft-porno project with puppets and people”. Yes, I am going, I mean come on, sci-fi feminist porno puppets? I’ve seen the Helmis more than any other theatre or dance company and they’re banging. Plus they’re re-staging Große Vögel, Kleine Vögel there, though I’ve seen that three or four times already. I reckon it’s their best work.
While Dasniya’s away the brilliant and quite sadistic Tamandua is teaching a Kinbaku workshop in Uferhallen. If you can pony up for it, his tying is worth it. And then it’s April, so more of Dasniya’s Tuesday morning classes.
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.
Personal Collective Performance Installation:
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 last five weeks I’ve been working with Melanie Lane on her new performance, Wonderwomen. It premières this Thursday, November 24th at LOFFT in Leipzig.
Mel asked me to come in and and be eyeballs / brain cells / dramaturg, or “Professional Audience” as I call it, with two pro women bodyduilders, Rosie Rascal Harte and Nathalie Schmidt. Who are both brilliant and beautiful performers, smart and thoughtful, and a joy to work with. Melanie totally scored with these two. In fact her whole team is quite awesome, with Clark on sound, and Bartold for stage design.
I’ve been wanting to write about Wonderwomen, Mel, Nathalie and Rosie, and have some time next week when I join them in Leipzig for the première. Rosie’s already written about her side of pre-show prep, as has Nathalie. In the meantime, here’s the details.
Festival Body Change Future
Melanie Lane (Berlin/Melbourne)
“I’ve made many good friends in bodybuilding, though there are few I’d trust to oil my back.” — Lee Labrada
Further seasons: Wed. 14th Dec. Alte Feuerwache, tanz.tausch, Köln
April 2017. HAU Hebbel an Ufer, Berlin
Wonderwomen invites two female bodybuilders Rosie Harte and Nathalie Falk to meet in a performance context. Two women contemplate their highly demanding sport that amplifies and transforms the body. While striving for an ultimate physical form, the women navigate their highly trained bodies and the potential for a new physical language. A dialogue between strength and vulnerablility, representation and transformation, Wonderwomen is an attempt to re-discover, re-invent and re-claim the female body.
Concept & Choreography: Melanie Lane
Performance: Rosie Harte, Nathalie Schmidt
Light design: Fabian Bleisch
Sound design: Clark
Stage design: Robert Bartholot
Dramaturgy: Frances d’Ath
Artistic Assistance: Florian Bücking
Photos: Robert Bartholot
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.
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.
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.
You thought I was joking about Dasniya only being in Berlin on a Tuesday? Right now she’s in Oldenburg, then she’s off to Warsaw, then back to Berlin to perform, then I dunno — too far in the future to scry. Definitely in Berlin in December with Das Helmi though. Plenty of rope/shibari/bondage/yoga workshops in November too (and Wellness to Torture is still the best name for a workshop ever).
Dear Rope and Theatre Friends,
the must-be event of the month is the Porn Film Festival 2016, starting next week. Check out my first photo exhibition Moviemento cinema! For November there will be five morning classes, and a bondage gig for Arte.
Also back in November: Yoga Shibari, and Self-Suspension #2.