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As Melanie Said: ✊✊✊πŸ’ͺπŸ’ͺπŸ’ͺπŸ’₯πŸ’₯πŸ’₯πŸ’₯

Late-night email from Melanie Lane. Wonderwomen, for which I was dramaturg, won the 2017 Leipziger Bewegungskunstpreis. Mad props to Mel, Rosie Rascal and Nathalie Schmidt, Robert Bartholot, Florian Bücking, and Fabian Bleisch — and LOFFT Theater in Leipzig, where we premièred.

Melanie Lane: Wonderwomen. Leipziger Bewegungskunstpreis 2017
Melanie Lane: Wonderwomen. Leipziger Bewegungskunstpreis 2017

Isabelle Schad β€” Double Portrait, & Turning Solo, at HAU3

Two shows by and with friends this week: Isabelle Schad’s premiΓ¨re at HAU of Turning Solo with the brilliant NaΓ―ma FerrΓ©, and Double Portrait, both of which I saw in June showings in Isabelle’s studio in Wiesenburg.

Dear friends and colleagues,

We would like to invite you to the Berlin Premiere / world premiere of the new pieces Double Portrait and Turning Solo by Isabelle Schad at HAU Hebbel am Ufer, Berlin.

We would be very happy to see you.

  1. Berlin premiere / world premiere
    • Friday, 15.12.2017, 19:00, HAU Hebbel am Ufer Berlin (HAU3)
  2. 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 β€” the portrait for Przemek Kaminski and Nir Vidan β€” 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 β€” the portrait for NaΓ―ma FerrΓ© β€” 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: Saőa 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: Saőa Božić / sound: Damir Šimunović / lighting: Bruno Pocheron & Emese Csornai / costumes: Charlotte Pistorius / head of production: Heiko Schramm

Isabelle Schad β€” Turning Solo
Isabelle Schad β€” Turning Solo
Isabelle Schad β€” Double Portrait
Isabelle Schad β€” Double Portrait

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Candy 3

Two years of riding on Shimano PD-M540 pedals and the axles are destroyed. I seem to wear out bike parts like a grinder. And after my entire clipless pedal life being on Shimano, I decided to swap to crankbrothers. Which means I need to re-cleat my shoes. And need new shoes. My bike. Such a vacuum for money. But who cares? Let’s all enjoy the sublime engineering of a yet to be unboxed pair of Candy 3 pedals.

crankbrothers Candy 3 pedal
crankbrothers Candy 3 pedal

Tighten Those Cones

Aside

My glorious Fulcrum Racing 5 CX wheels needed the front wheel’s cones tightened. Break out cone spanners and all the usual mess for a hub-gutting. But, no! All I need is a 2.5mm hex key to spin the pre-load ring tighter. Could probably be done without even removing the wheel. Out-farking-standing.

Isabelle Schad in Hanoi, Ho Chi Minh City, & Jakarta (& elsewhere)

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.
Nice Greetings.

Solo for Lea
31.08.2017 / Monoplay Festival / Zadar (HR)
19. + 20.10.2017 / KΓΌnstlerhaus Mousonturm / Frankfurt (DE)

Der Bau
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)

Double Portrait
10.10.2017 / showing / Lazareti / Dubrovnik (HR)
13. + 14.10.2017 / Premiere / Zagrebacki Plesni Centar / Zagreb (HR)

Workshops
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 / KΓΌnstlerhaus Mousonturm / Frankfurt (DE)

Isabelle Schad β€” Showings: Double Portrait, & Turning Solo

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 fΓΌr 2017 geplanten Neuproduktionen vorgestellt.

β€œDie 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 verΓ€ndern oder dieses Bild wieder loszuwerden.”

β€” Isabelle Schad, Auszug Interview mit Wolfgang Horn, Theater: Ein Fest! Tanzplattform 2016, 3sat

Double Portrait, 16. & 17. Juni 2017 / 19.00
Turning Solo, 30 Juni & Juli 2017 / 19:00
Wiesenburg-Halle, Berlin-Wedding, Wiesenstrasse 55, 13357 Berlin

Anfragen und Reservierungen unter: schrammheiko@gmx.de

Isabelle Schad (Konzept, Choreographie), Przemek Kaminski, Nir Vidan (Co-Choreographie und Performance) Sasa Bozic (Dramaturgische Beratung), Damir Simunovic (Sound), Bruno Pocheron (Licht), Charlotte Pistorius (KostΓΌme), Heiko Schramm (Produktionsleitung), Andrea Remetin (Produktion defacto), Isabelle Schad (Fotos)

UrauffΓΌhrung: Oktober 2017, Zagreb, Croatia
Berlin Premiere: Dezember 2017, HAU Hebbel am Ufer Berlin

Isabelle Schad β€” Double Portrait
Isabelle Schad β€” Double Portrait

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Melanie Lane β€” Wonderwomen, HAU1 Dress Rehearsal

The brilliant Melanie Lane’s new performance, Wonderwomen opens tonight in HAU1, with: the awesome pair of professional bodybuilders that are Rosie Harte and Natalie Schmidt; set and costume design by Robert Bartholot; music by Clark; lighting by Fabian Bleisch; and feministing up in your dramaturgy by Frances d’Ath (yup, the one who has this blog). It’s on the main stage, and looks deadly. Here’s some photos from dress rehearsal yesterday.

Kinbaku Study Group in Berlin

Cross-posting this from Dasniya’s blog. The rather brutal and exceptional shibari / kinbaku-ist Tamandua, whom Dasniya and I met in Stockholm, and who now lives in Berlin is organising a Kinbaku Study Group at Haus Sommer in Uferhallen, Berlin-Wedding. I’ve seen photos of him tying Dasniya, and Dasniya’s talked with me a lot about his work. I think he’s doing some of the most interesting β€” and probably most sadistic β€” rope work in Berlin. More info on his tumblr.

Starting up: Regular kinbaku study group

Now looking for people in Berlin interested in joining a small kinbaku/shibari study group starting beginning of May.

This is a good opportunity to learn focused together with other students and where your personal development can be followed and taken properly into account during the process.

Lessons will take place in the evening every second week. See dates below. For each class opportunity there will be a different theme to get the chance to get a familiar with the broad spectrum of ties and approaches to kinbaku that exsist out there. During these weeks we will be touching on topics such as plenty pattern and shape learning, controling a body and being controled as a body in ropes, communication, aesthetics, technical problem solving, rope handling and treating and other nerdy content.


Participants should be of level advanced beginner or intermediate at the start of the course. And yes, we will also be getting into working with suspension points when the level for that is met.

You can attend with somebody you know already but it’s great if you are also comfortable with switching and coupling up with other students taking the course. Whatever you feel fine with.

It is possible to sign up for 3 or 6 classes at a time. It is adviced to not skip more than one class in a row since the idea is for the classes to be progressional.


Evenings 18:30-21:30
May: 4, 18 (Thurs), 31 (Wed)
June: 14, 28 (Wed)
July: 12 (Wed)
3x3h classes: 120 per person
6x3h classes: 200 per person

Location is close to Pankstrasse in Wedding.
Email tamanduaengstrom@gmail.com to register

Tamandua tying Briki
Tamandua tying Briki

Melanie Lane’s Wonderwomen at HAU Berlin

Yes! The one with the two women bodybuilders! In Berlin and on the main stage at HAU. Next week! And then back to Leipzig for you all down there. Here’s all the details:

Melanie Lane invites you to her new work Wonderwomen, at HAU1 Hebbel am Ufer, Berlin.

Wonderwomen invites the two female professional bodybuilders Rosie Harte and Nathalie Schmidt to meet in a performance context. They contemplate their highly demanding sport that amplifies and transforms the body. While striving for an ultimate physical form, the women navigate their profoundly trained bodies and the potential for a new body language. Wonderwomen is a dialogue that brings together strength and vulnerablility, representation and transformation, athleticism and femininity.

Concept and choreographie: Melanie Lane
Performance: Rosie Harte, Natalie Schmidt
Light design: Fabian Bleisch
Sound design: Clark
Set and costume design: Robert Bartholot
Dramaturgy: Frances d’Ath
Choreography Assistant: Florian BΓΌcking
Production-management: M.i.C.A.

HAU1, Berlin: April 21, 22, 23, 19:00
LOFFT Das Theater, Leipzig: May 12, 13, 14

Melanie Lane β€” Wonderwomen
Melanie Lane β€” Wonderwomen

A Year Of My Heart

A year ago, I decided to get all analytic on my training. Mainly I just like tech and pretty representations of data. So I bought a heart rate sensor. And now it’s been a year of me using it almost every time I train. Which means I can look at a year in the life of Frances training, with all the … whatever that reveals.

What does it reveal, Frances?

Well, other Frances. I trained 156 times β€” that I recorded, let’s say 170 because I pretty much did not train without it unless I forgot either sensor or phone. For a total of 190 hours β€” there’d be a few more in that for the times my phone battery died. For a measly distance of 1481 kilometres β€” of actual training rides, not including cross-town, Kreuzberg-Wedding type stuff, so maybe double that at least, no wonder I spend so much on my bike and it feels like it’s constantly in need of repair. Hey, just like me! (Wow, there’s a realisation, right there.) About 1/3 of that was ballet, another third cycling (mostly road at the moment, but some cyclocross), 1/6 bouldering, and the remaining 1/6th a mix of yoga and core training.

Oh, and supposedly I burned around 121,000 calories, which is about 60 days of eating 2000 calories a day. I’m not really convinced about this. I think it’s more of an imaginary number, and not the mathematical kind.

What else? Speed, both average and top are derived from iPhone GPS. I’m not sure how much dispersion there is in this, but I suspect it can easily be 5km/h or more in either direction. My next gear purchase (after … umm … new brakes and probably new rear derailleur pulley wheels) is a speed/cadence sensor β€” which probably means also a proper cycling head unit instead of phone …

I seem to unintentionally train in 9-10 week blocks, then give up in despair for a couple of weeks, then, like a goldfish circling its bowl, forget all that and get right back into it. Knowing that this might be my natural rhythm though, it could make sense to train in 9 week blocks with a week off, if for nothing else than keeping my enthusiasm. Also I doubt I’ve been training like that this year, my rhythm’s all over the place.

My maximum heart rate seems to be constant around 190 (excluding the huge jumps into the 200s that were either the battery going flat, the sensor getting jostled, or actual random heart weirdness from having stupid fun training in -10ΒΊ weather). I dunno, I have no context or expertise for reading anything into these figures, other than I seem to like training if it involves a degree of discomfort and some suffering β€” which I didn’t need a heart rate sensor to tell me.

So, a year of data. What to do with it? No idea! Will I keep using it? For now, yes. It’s become automatic to put it on. I don’t really use it during training, though I’d use it for cycling if I could find an iPhone mount that could hold my ancient 4S. But mostly I do it on feel, and that corresponds pretty closely to the various heart rate zones. I do do regular post-training gawks, to compare how I felt with actual data β€” and knowing that data across sessions gives me a bit of a feeling for where I’m at on a particular day or week. And one other thing: I train a lot less than I think.

Worth it for seeing a year of training all pretty like that? Yup!

Polar Flow and H7 Heart Rate Sensor β€” One Year Weekly Training Report
Polar Flow and H7 Heart Rate Sensor β€” One Year Weekly Training Report
Polar Flow and H7 Heart Rate Sensor β€” One Year Daily Training Report
Polar Flow and H7 Heart Rate Sensor β€” One Year Daily Training Report