An Bewegungen, die einer nicht gewöhnt ist, lässt sich leicht zeigen, dass sein Ich-Bild bei weitem nicht so vollständig und genau ist, wie er meint. Die Differenz zwischen Bild und Wirklichkeit beträgt oft 300% und noch mehr.

Moshé Feldenkrais

Approach to work

The development of a specific body language based on the observation of the body patterns in quotidian/private situations, and the transcription of these patterns in an articulated body language, using tools as composition in real time, vocabulary of video editing applied to movement, strategies and rules (loops, repetitions, changes of point of view) for the construction/ deconstruction of a situation.

The approach of the performance as a moment of visibility of the process more than as a product, by creating loose associations, by proposing elements to be combined (more than a combination of different elements), by letting space for an own reading, understanding, recognition, identification, by letting images only appear, pass and transform.

Increasing the readability of the “writing”, using accidents, coincidences, failures and imperfections in their very moment of happening, the work connects to the present, shows the reality of the instant through processing and creating in real time.

A proposal to the audience to find their own rules and connections, to question their point of view and expectations, to discover more than to receive.

The dancer and choreographer Isabelle Schad still counts to the “upcoming choreographers”, but to one of those who have found, developed and proved their own signature and language already. In the “Kleine Szene”, she was showing for the first time her new “movement project” SPFC, with the subtitle “Intimacy in 3 acts”. Only after a second look, one recognises the expressions in the title as: “switch position”, “freeze control”, technical expressions which have to do with regulation and control systems. For Isabelle Schad they have been reason for a solo, that deals with the observation of the own body. The intimate self-control in a naked room in front of a monitor has started before the public is entering the space, and renounces a clear ending where there is normally the applause; the practising of the self continues until the last spectator has left the space.
Isabelle Schad’s body language fascinates and impresses through its naturalness and simplicity, that makes it possible to live and understand the abstract as well. In the first part of the self-observation, glimpses of hesitation associate the insecurity inside this approach towards the self. Then the naked body is offered like a present with the help of a golden foil. In the last part she increases the ritual of hesitation through faster movements and phrases to determination, to train herself to become a conform self.
A precise and intense work. (…)

(26.10. 2001, Süddeutsche Zeitung)