Isabelle Schad — “Personal Collective” at Museo Universitario Del Chopo, Mexico City

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 JumpsPieces 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.

More information: Isabelle Schad, Museo Universitario del Chopo.

Isabelle Schad — “Personal Collective” at Museo Universitario Del Chopo, Mexico City (Foto: I. Schad in front of Azul extensivo by Sofia Táboas)
Isabelle Schad — “Personal Collective” at Museo Universitario Del Chopo, Mexico City (Foto: I. Schad in front of Azul extensivo by Sofia Táboas)

Isabelle Schad — Pieces and Elements

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.

  1. Première:
  2. 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.
Isabelle Schad — Pieces and Elements
Isabelle Schad — Pieces and Elements

All Things Isabelle Schad

Speaking of Isabelle Schad, not in Berlin for Solo für Lea next week? How about Kraków or Timişoara or Berlin later in the year?

Der Bau
Isabelle Schad and Laurent Goldring
7th October 2016, 41 KRT Festival, Teatr Łaźnia Nowa, Kraków, Poland

Fugen
5th November 2016, Hungarian Theater, Timişoara, Romania

Pieces and Elements
New group piece for 12 performers
Première: 25th November 2016, HAU2 Hebbel am Ufer, Berlin

Isabelle Schad: Pieces and Elements — 1
Isabelle Schad: Pieces and Elements — 1
Isabelle Schad: Pieces and Elements — 2
Isabelle Schad: Pieces and Elements — 2

Isabelle Schad: Solo für Lea, at Sophiensaele Berlin

Isabelle Schad’s new solo for Lea Moro, called appropriately, Solo für Lea premières at Sophienæle next week. I had the pleasure of seeing the development showing a few weeks ago, and it smashes. Intense, focussed, totally recognisable as a Schad work. If you don’t know who she is, now’s your chance. And if you do, this is what happens when Der Bau gets filtered through Fugen.

Isabelle Schad
Solo für Lea
Premiere: Thursday, 13th October 2016, 21:00, Sophiensaele (Berlin)
Further dates: 14 & 15 Oct, 21:00; 16 Oct 18:00

The Solo for Lea is a meeting between Isabelle Schad and Lea Moro. In continuation of Schads choreographic practice around relationships between body, movement, image and (re)presentation, 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. Dissected in parts and reorganised anew, the body is regarded as pure materiality, as a medium of energetic potential and transformation.

The new work unfolds itself in the borderline between visual arts and dance, between performance and installation, between sensual experience and abstraction and is playing with form-aspects of cubism and Picasso’s drawings in one dash.

Together Schad and Moro engage in constellations of forming and dis-figuring, in which the body itself becomes the stage: the space, place and matter that is subject of observation.

Concept, choreographie: Isabelle Schad
Co-choreography, performance: Lea Moro
Dramaturgical support: Saša Božić
Sound: Damir Šimunović
Light design: Bruno Pocheron
Technic: Bruno Pocheron, Mehdi Toutain-Lopez
Costume: Charlotte Pistorius
Production management: Heiko Schramm

Made possible by a long years collaboration with Laurent Goldring.

Production: Isabelle Schad
Supported by: Wiesen55 e.V.

Isabelle Schad: Solo für Lea — 1
Isabelle Schad: Solo für Lea — 1
Isabelle Schad: Solo für Lea — 2
Isabelle Schad: Solo für Lea — 2

Isabelle Schad — Fugen

Since July, I’ve been working with Isabelle Schad on her new work, a solo called Fugen. Next Thursday is the première.

Fugen by Isabelle Schad

With Fugues, Berlin choreographer and dancer Isabelle Schad continues her work between musical concepts and their expression in movement. Coming from a music background, she attempts to look at her own (hi)story and the origins of (her) movement between discipline and pleasure, examining the body and its energies in its materiality, process, and time.

The fugue serves her as an analogy for the body in exercise, where the principles of chasing and fleeing, giving and receiving, emptiness and fullness, are becoming one.

Fugues 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.

Première:
Thursday, 29th Oct 2015, 20:00, HAU Hebbel am Ufer (Berlin)
30th, 31st Oct, & 1st Nov 2015, 20:00

Audience talk after the performance on Friday 30th with Jun.-Prof. Dr. Susanne Foellmer, Isabelle Schad, and Sasa Bozic

Concept, choreography and performance: Isabelle Schad
Dramaturgy: Sasa Bozic
Artistic assistance: Frances d’Ath
Associated artists: Laurent Goldring, Alain Franco
Light design: Mehdi Toutain-Lopez
Costume: Charlotte Pistorius
Production management: Heiko Schramm
Production: Isabelle Schad
Co-production: HAU Hebbel am Ufer, Espace Pasolini (Valenciennes)
Funded by: the Regierende Bürgermeister von Berlin – Senatskanzlei – Kulturelle Angelegenheiten, and the Nationales Performance Netz (NPN) Koproduktionsförderung Tanz, which is funded by the Beauftragten der Bundesregierung für Kultur und Medien on the basis of a decision by the Deutschen Bundestags.
Supported by: Wiesen55 e.V.
Thanks to: Damir Simunovic
photo: Laurent Goldring

More information: Isabelle Schad, Hebbel am Ufer

Fugen on tour 2015:
3rd & 4th November 2015, Liikkeellä marraskuussa, Stoa, Helsinki Finland
26th & 27th November 2015, Next Festival, Espace Pasolini, Valenciennes France

Isabelle Schad — Fugen
Isabelle Schad — Fugen

Romeo Castellucci’s Parsifal at Teatro Comunale di Bologna

One hundred years ago, Richard Wagner’s opera Parsifal was first performed in Italy at Teatro Comunale di Bologna, and on Tuesday, January 14th, we celebrate this in the prémiere of Roméo Castellucci’s production that was first staged at La Monnaie | De Muntin Brussels in 2011.

14 Gennaio 2014 – 25 Gennaio 2014
Parsifal – Richard Wagner
Dramma sacro in tre atti
Libretto di Richard Wagner
Nel centenario della prima rappresentazione Italiana, a Bologna il primo gennaio 1914

14 gennaio 2014 – 19:00 Turno Prima
16 gennaio 2014 – 19:00 Turno A
18 gennaio 2014 – 15:30 Turno Domenica
21 gennaio 2014 – 19:00 Turno B
23 gennaio 2014 – 19:00 Turno C
25 gennaio 2014 – 15:30 Turno Pomeriggio

Interpreti

  • Amfortas Detlef Roth
  • Titurel Arutjun Kotchinian
  • Gurnemanz Gábor Bretz
  • Parsifal Andrew Richards
  • Klingsor Lucio Gallo
  • Kundry Anna Larsson
  • Primo Cavaliere del Graal Saverio Bambi
  • Secondo Cavaliere del Graal Alexey Yakimov
  • Primo scudiero Paola Francesca Natale
  • Secondo scudiero Alena Sautier
  • Terzo scudiero Filippo Pina Castiglioni
  • Quarto scudiero Paolo Antognetti
  • Fanciulle fiore – gruppo I
    • Helena Orcoyen
    • Anna Corvino
    • Alena Sautier
  • Fanciulle fiore – gruppo II
    • Diletta Rizzo Marin
    • Maria Rosaria Lopalco
    • Arianna Rinaldi
  • Voce dall’alto Anna Larsson
  • Danzatrici
    • Tamara Bacci (solista)
    • Gloria Dorliguzzo
    • Francesca Ruggerini
    • Roberto De Rosa
    • Martina La Ragione
    • Francesca Cerati (riserva)
    • Angela Russo (riserva)
  • Bondage
    • Dasniya Sommer
    • Frances D’Ath
    • Bonnie Paskas
    • Georgios Fokianos
  • Contorsioniste
    • Anna Pons
    • Valentina Giolo
    • Ferewoyni Berhe Argaw
  • Direttore Roberto Abbado
  • Regia, scene, costumi e luci Romeo Castellucci
  • Regista collaboratore Silvia Costa
  • Movimenti coreografici Cindy Van Acker
  • Drammaturgia Piersandra Di Matteo
  • Ballerina solista Tamara Bacci (Gref)
  • Assistente alle luci Daniele Naldi
  • Video 3D Apparati Effimeri
  • Maestro del Coro Andrea Faidutti
  • Maestro del Coro Voci Bianche Alhambra Superchi
  • Orchestra, Coro e Tecnici del Teatro Comunale di Bologna
  • Coro di Voci Bianche del Teatro Comunale di Bologna
  • Allestimento Théâtre de la Monnaie Bruxelles
Teatro Comunale di Bologna – Parsifal
Teatro Comunale di Bologna – Parsifal

Fest — 8

Four hours into the train journey north and slightly west from Vienna to Berlin, and I feel reasonably confident I haven’t forgotten anything. The endless blue sky of the past weeks (all but the first in fact, which was massively wet) is being replaced by ever-closer clustering and darkening layers of cloud, though languorous enough to know it’s still summer and the heat remains. Yesterday, today, this week we all variously depart, only Ivo remains in the Festival, calming down to be a proper DanceWEB coach and workshop teacher. Giacomo went to Brussels yesterday (relieved of his Breaking Bad habit hawhaw), Mirko goes shortly, and Annina tomorrow. Nicola also still in Vienna and now the satisfied bearer of two large supermarket bags full of the contents of my kitchen shelves and fridge. As much as I would have loved to take some of those delectable curry pastes and chutneys with me, it’s simply that any comestible space freed up in my suitcase by eating was rapidly overfilled with books. Definitely heavier than when I arrived.

What have we done. then? A premiere, a second show (combining second night blues and closing night into one), both more-or-less sold out, several walk-outs in the obvious places – more from discomfort than moral outrage – an amount of what seemed genuine applause, and so far a pretty good response from all those who have talked to Ivo and the others. Both shows were at 11pm, finishing around 1am and having dinner between then and 3am, so the last four days have been on an abruptly altered rhythm. The first show was also during the apex of the heatwave, nudging onto high-30s outside, airless and hotter in. Much sweating took place and dealt mortally with the microphones.

Now that what we’ve done is public, I can talk somewhat more freely about the piece. This was in part keeping the scenes which will be talked about and which Fest will be remembered for somewhat private until we opened, as well as more generally not exposing everything that goes on each day. It seems the best way to do this is to write about the performance itself, a kind of review of the most subjective kind. I spent each show sitting vaguely where the stage manager might be if it was a proscenium stage, though not, so wedged slightly in the side of the seating tiers, keeping pace in the script with everyone in case there was a complete failing of memory and prompting was needed. It wasn’t, and there was also very little that occurred which deviated from the script.

There have been several people who came in and watched runs over the weeks, Christian while he was here, a friend of Ivo’s from Sopia came a couple of times, Guido also, Dasniya, a handful of DanceWEBers, and of course we who sat on the other side of the stage, Giacomo, Emilion, and myself. It was particularly interesting listening to the ‘WEBers who spoke with Ivo in a group on Friday night, and this got me thinking about how I conceptualise the entire work. My tasks in the final days in the practical sense have been very much of the rehearsal director kind, clearing up lines, documenting changes, giving notes, all the usual. Along with this have been many meta-conversations with Ivo about the overall structure of the work, how choices of music, character, timing can change entirely the meaning of a scene and therefore the work, all of which has given me a reasonably fine understanding of Fest.

So it felt for me, while listening to everyone talk about it, agreeing in places, disagreeing in others, surprised by new and unthought-of readings, that it would be a worthwhile project to write about the piece from a critical outsider perspective while sitting with the script in front of me and all my insider notes strewn on laptop screen. This in part also because Fest goes to Amsterdam and Brussels in the next six months and if time permits there will be a period of re-writing. Anyway, all this for a subsequent post.

We went to the Afghan restaurant up the road last night and naturally I had lamb. Also a couple of cardamom-infused coffees which were sublime though light on the caffeine. This morning the last movements of packing, getting 30+ kilos of suitcase organised along with bike (absolutely the best decision to bring that to Vienna) and satchel (seems to weigh more than bike), and off to Wien-Meidling where I saw Dasniya off only two days ago, and now pulling into Praha, just passed half-way home.

Much later. The train from Děčín hlavní nádraží to Pirna was as breathtaking as ever. Home. Unpacked, filled a whole shelf with new books, Iftar was had with water as I have no dates, then quickly downstairs to see Dasniya and a room of 15 happy Yoga & Shibari people, half of them friends I’ve not seen for months, and now fallen over in my dearly missed bed.

Fest Premiere

Aside

Saturday night 11pm sold-out premiere pushed to 1130 and closing in on 1am before it was all over, then off to the ImPulsTanz Lounge for eating, drinking and my one post-premiere cigarette. Besides “underwater microphone” problem (sweat-soaked, that is), everything went gloriously. And now I feel I can talk about all the things as they are no longer rehearsal-room goings-on, I’ll blog properly, and with pictures. One more show tonight, also.

Fest — 7 (and various things)

The last week we spent back in the Volks Oper rehearsal studios where we remain until later today when we retrace our steps to Kasino Theater for two probably gloriously chaotic days of setting up, rehearsing, and on Saturday night, performing. In the meantime, Giacomo arrived from Italy (and has been occupied watching Breaking Bad until the early morning hours) and the coffee intake has naturally increased.

Back one week. The bike ride in +30º late-afternoon summer warmth from Währinger Str to Wien-Meidling train station turned out to be somewhat longer than expected, and Dasniya’s train was early. We met nonetheless, on the platform, she with a suitcase bearing a blackly iridescent travelling companion, some kind of tenacious flying beetle that had accompanied her and refused to depart. We left it in the grass on the Gürtel as we made our way homeward, me still to return to rehearsal.

The weekend for me was split between rehearsing and Dasniya’s workshop, with a beautiful group of women in the Shibari Dojo, off Mariahilferstr just the other side of the Gürtel. A came along on Tuesday evening also, and found myself tied and slapped by Klaus, the physicist who came to our ImPulsTanz workshop last year.

Rehearsals, then. It’s a little like writing code. When one part is touched up, it shows how another part can be made more elegant, which in turn shows often unexpected inconsistencies and oddities in completely unrelated places. By the end of last week we’d more-or-less found an end and much of the work has been going back and forth the length of the work, rewriting, cutting, editing. Switching rehearsing from Kasino to Volks Oper also has changed it; the latter is very much a rehearsal space.

From my point of view writing here, having seen so many times those very disturbing moments in the first two acts, and how they sit within the text, it’s difficult to say much without giving things away. The Saturday is a 11pm, and the day will be around 36º, which means Kasino will be an airless oven, somehow appropriate for the ghastly eighty-minute goings-on of the three acts.

We seem to have come to conclusions in the work, in the text; every pass through and run becomes a more fine stitching of things. Decisions are often on the most detailed level now, how a person moves, turns their head, pauses solves the problem or gives the meaning on the larger scale. Still things to decide though, music, costumes, lights (Giacomo runs a lighting desk on his laptop and spent yesterday programming some broad ideas – much better than having to wait for non-existent access to the theatre and having to tangle with a new board), how to shave off various minutes from the acts. Returning to Kasino I think will answer a lot of this, and obviously make a hash of things we thought were sorted.

And perhaps some photos on Sunday, after the premiere.

Cie. Ivo Dimchev — Fest, at ImPulsTanz

What brought me to Vienna several weeks ago back to ImPulsTanz and Ivo has its premiere tomorrow night:

Cie. Ivo Dimchev — Fest

It’s an exciting game that is determined by various kinds of human relationships. The name of the game is “Festival”, and Ivo Dimchev knows it very well because his radical works have enthused and been hotly disputed at all major European festivals for more than 10 years. Now it’s his turn: to stage his own festival, beyond the limits of conventions and with his unique, magic flavour of presence.

Dates: 27 & 29 July, 2013
Time: 23:00
Kasino am Schwarzenbergplatz
ImPulsTanz Performances 2013

Concept & Direction: Ivo Dimchev
Performers: Ivo Dimchev, Annina Machaz, Nicola Schössler, Mirko Feliziani
Light Design: Giacomo Gorini
Sound Design: Emilian Gatsov
Dramaturgy & Assistance: Frances d’Ath

Ivo Dimchev — Fest
Ivo Dimchev — Fest