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Double Portrait

With Double Portrait, 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.

“The images are always somehow in-between, hybrids, and can never be clearly defined. As soon as an image starts to say something that each member of the audience can recognise, I want to change it or get rid of the image.” (Isabelle Schad, excerpt from an interview with Wolfgang Horn, Theater : Ein Fest ! Tanzplattform 2016, 3sat)

Double Portrait– the portrait for Przemyslaw 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. It raises matters around violence and sensuality, the role of temporality, the relation to oneself that expands into the other and into the world.

Isabelle Schad | concept and choreography
Przemek Kaminski, Nir Vidan | co-choreography und performance
Sasa Bozic | dramaturgical support
Damir Simunovic | sound
Bruno Pocheron | lighting
Charlotte Pistorius | costumes
Heiko Schramm | head of production
Andrea Remetin | produktion defacto

production | Isabelle Schad | co-production | HAU-Hebbel am Ufer Berlin, defacto Zagreb

All images by I.Schad, all rights reserved





Camera: Walter Bickmann, all rights reserved
Editing: Heiko Schramm

2022 MOUVEMENTS, 14 – 15 MAY 2022 | POTSDAMER TANZTAGE 2022 

Glad to be part in this year’s edition of Potsdamer Tanztage with Mouvements, a durational performance where the choreographic material of Double Portrait meets the sculptures of Robert Schad.

MOUVEMENTS
Robert Schad & Isabelle Schad
14 – 15 MAY 2022 |
POTSDAMER TANZTAGE 2022 |
EXHIBITION / DURATIONAL PERFORMANCE

See online: fabrikpotsdam

MOUVEMENTS is an encounter between Robert Schad and me, our works around and with sculpture and dance, presence and material, as well as the two performers Przemek Kaminski and Nir Vidan. Robert Schad’s sculptures meet //Double Portrait//. They seem to want to lift off the ground despite constructive rigidity in motion, despite physical heaviness. The physical movement of the dancer unfolds in contrast, dissolving the rigidity, reacting to impulses of movement in the sculptures, and passing them on to the space. In //Double Portrait//, the two dancers become extensions of each other. In changing interdependencies, a common space emerges that unites self and strangeness, intimacy and care, colliding forces and sensuality. Fragments of this work will now resonate with Robert Schad’s sculptures for the first time, reshaping them and making them tangible in a durational installation. Robert Schad’s sculptures and the dancers are united by the development of their expression through the play of their limbs in space.

SAT 14 / SUN 15 MAY 
at KUNSTVEREIN KUNSTHAUS POTSDAM

2019 Double Portrait – unfolded version @ Die Wiesenburg

A Die Wiesenburg cooperation // Wiesenburg-Halle // Werkhalle:
Double Portrait – unfolded version
Saturday 31st August & Sunday 1st September
+
Classical Sundays
Sunday 1st September
8.30pm at Werkhalle
special performance – programme to be announced

Pic: I.Schad all rights reserved

With Przemek Kaminski and Nir Vidan.

Double Portrait – unfolded version focuses on the multi-layered physical materialities of the piece, reducing all further elements at play (lights, stage, sound) to its essences, in order to sharpen the reading of the energetic movement pathways and their transformations.

The bodies of two dancers with accentuated lanky limbs perform Double Portrait, a dance performance almost closer to a live visual mobile or bodily installation. It is a duet that is transformed into a solo by a mere physical approach, playing with the prolongation of the dancer’s body into the other. Such a newly-created figure, marked with their stitched and simultaneously extended bodies, recalls Schiele’s portraits. (Maja Ležaić)

Credits: Konzept & Choreografie: Isabelle Schad | Co-Choreografie & Performance: Przemek Kaminski, Nir Vidan | Dramaturgische Begleitung: Saša Božic ́ | Sound: Damir Šimunovic ́ | Lichtdesign: Emma Juliard | Kostüme: Charlotte Pistorius und die Tänzer | Produktionsleitung: Heiko Schramm | Photo: Isabelle Schad | Produktion: Isabelle Schad | Koproduktion: HAU Hebbel am Ufer | defacto (Zagreb) | Gefördert durch: Senatsverwaltung für Kultur und Europa und Nationales Performance Netz (NPN) Koproduktionsförderung Tanz aus Mitteln der Beauftragten der Bundesregierung für Kultur und Medien aufgrund eines Beschlusses des Deutschen Bundestags | Unterstützt durch: Wiesen55 e.V.

I call my pieces of small formats Chamber Pieces. It concerns those pieces – in analogy to Ingmar Bergmans films and to chamber music – that work with only one or few performers who interact within a small space. Bergman himself created a couple of films under the notion of Chamber Pieces. His aim was, to re-discover the essence of theatre whilst he was imitating the interaction or juxtaposition of music instruments within a chamber orchestra.

Next to the musical analogies, it is also the reduction of space that defines the Chamber Pieces: The space around the body(ies) is worked as an amplifier of the visible (of the inner spaces), and the body-space relation is reduced to a minimum of surface. (Isabelle Schad)

2017 Turning Solo & Double Portrait Premiere @ HAU Berlin

We are happy to invite to our premiere of two new pieces!!!

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.

See online: HAU

2017 ​Premiere of Double Portrait in Zagreb, Dance Inn festival

​Dance in Autumn : PORTRAIT IN DANCE
in Zagreb Dance Centre, Zagreb

13.-14.10.2017
Isabelle Schad: Double portrait (GER)
Petra Hrašćanec and Saša Božić: Love will tear us apart (CRO)

Dance Inn is a mini-festival, or an international thematic event organised by de facto, a theatre company focused on contemporary performance art and live art.
​Dance Inn takes an innovative approach to understanding festivals taking place in Zagreb and Croatia. Essentially, it is a pop-up weekend festival that collaborates with various artists, art collectives, institutions and venues depending on the topic selected to provide an in-depth and horizontal overview of the cultural community during a very brief period of time.

With Double Portrait 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 Przemyslaw 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. It raises matters around violence and sensuality, the role of temporality, the relation to oneself that expands into the other and into the world.

See online: danceinn.org

2017 Double Portrait in Dubrovnik

Showings at Lazareti, Dubrovnik (Croatia).
Tuesday, October 10th


See online: facebook

2017 Showings @ Wiesenburg

Isabelle Schad : Double Portrait with Przemek Kaminski and Nir Vidan
Presenting the first results for new productions planned in 2017 within an informal framework – Showings.

Double Portrait is part of Isabelle Schad’s Portrait Series, which she develops since a few years together with her colleagues.
“The images are always somehow in-between, hybrids, and can never be clearly defined. As soon as an image starts to say something that each member of the audience can recognise, I want to change it or get rid of the image.” (Isabelle Schad, excerpt from an interview with Wolfgang Horn, Theater : Ein Fest ! Tanzplattform 2016, 3sat)

16th & 17th June 2017 / Wiesenburg-Halle

+ The Official Premiere will take act on October 2017 in Zagreb, Croatia
+ Berlin Premiere is expected in December 2017 at HAU Hebbel am Ufer Berlin

See online: Die Wiesenburg

ASTONISHING ORGANISM
Dance Inn Festival, Zagreb: Dance in Autumn; ’Double Portrait’ by Isabelle Schad

The opening of the first Autumn session of ’Dance Inn Festival’, organised by ’DeFacto Theatre Company, took place in ’Zagreb Dance Center’ with a very interesting double bill, the performance ’Double Portrait’ by Isabelle Schad, followed by ’Love Will Tear Us Apart’ by Petra Hrašćanec and Saša Božić. The theme of the festival is ’Portrait in Dance’.

The bodies of two dancers with accentuated lanky limbs perform Double Portrait, a dance performance of a very uniform character, almost closer to a live visual mobile or bodily installation.

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Temporal rhythmic gradations in it are almost absent whilst the narration of the bodies follows visually subtle, but yet progressive the quasi-psychological narrative of the body, and becomes through its mechanics a new body of a new legitimacy. It is a duet that is transformed into a solo by a mere physical approach, playing with the prolongation of the dancer’s body into the other. Such a newly-created body, marked with their stitched and simultaneously extended bodies, recalls Schiele’s portraits.

The movements -neither rough nor sensual- appear in the same time organic and mechanic. Something like a creature in symbiosis, bodies without limbs, pulsating movements that use the contraction and expansion of the bodies for creating further motions. The system of such type of motion reminds of special geometric movements, e.g. of train wheels. What happens is that the spines of the dancers are constantly linked either to the floor of the scene or to one another, creating a body following new laws that acts like an alien and fluidly talks a new language, similar to invertebrates or to a mono-cellular organism.

Through choreographic patterns, the joint body develops, extends and spreads around its hollow center. The dance acts like an intimate chess game, where the tokens are ’not eaten’ but it plays the limits between body and space. The sound, although organic, sounds rather unnatural and works like a gentle amplifier of noise. The stage, partially made of a light velvet-like peach-coloured patch, emphasises the texture of the dancers’ naked limbs and their tactility. Although there are recognisable, almost narrative moments in motion, such as imitation, rejection or intercourse, the overall performance is completely deprived of intimacy, mutual concern or violence of the two performing characters.
The fluctuating variations that the dancers perform and their unique united body recalls the movement of some astonishing prehistoric organism.

© Maja Ležaić, PLESNA SCENA.hr, October 18, 2017.
Double Portrait
concept and choreography Isabelle Schad
co-choreography and performance: Przemek Kaminski, Nir Vidan dramaturge Saša Božić, sound engineer Damir Šimunović, light engineer Bruno Pocheron, costumes Charlotte Pistorius

Zwischen Drehwurm und Doppeltsehen
Isabelle Schad feiert mit „Double Portrait“ und „Turning Solo“ Premiere im HAU 3 in Berlin

Tanznetz, 17.12.2017, von Maria Katharina Schmidt
Berlin – Naïma Ferré dreht sich so lange um die eigene Achse, bis schließlich Wind über die Bühne fegt. Zumindest scheint es so – bläht sich ihre Kleidung doch zusehends mit Luft auf. Die Performerin und Ko-Choreografin von „Turning Solo“ bewegt sich zu Beginn des Stücks in einem schmalen, gedimmten Lichtkegel, der zugleich die restliche Bühne in noch tieferes Schwarz taucht. Kontinuierlich fließend, jedoch extrem langsam wandern Naïma Ferrés Hände um ihren Kopf. Sie erkundet tastend Gesicht, Ohren, Schläfen und die Haare am Hinterkopf um erneut Gesicht, Ohren, Schläfen und die Haare am Hinterkopf zu ertasten.

Derweil dreht sich ihr Körper ebenso kontinuierlich um die eigene Achse. Sie wird die nächsten 30 Minuten nicht aufhören, sich im Kreis zu drehen, während die lebendige Skulptur, die Naïma Ferré alsbald über ihre Bewegungen auf der Bühne entwirft, immer neue Pfade begeht. So weicht die Haptik der Atmosphäre, die sich in diesen ersten Minuten über das Ertasten des Kopfes und den kratzenden Sound aus den Lautsprechern einstellt, schnell raumgreifenderen Drehungen. Über die Zeit etabliert sich dabei im eigenen Zuschauen ein Rhythmus, in dem das Publikum den Drehbewegungen der Bühne tatsächlich kopfkreisend folgt und am Ende mit einem leichten Drehwurm aus dem Abend entlassen wird.

In „Double Portrait“, das Eröffnungsstück des Abends, arbeitet die Berliner Choreografin ebenfalls mit einem Kontinuum an sich wiederholenden und dabei fließend verschiebenden Bewegungssequenzen. Przemek Kaminski und Nir Vidan, die beiden Performer und zugleich Ko-Choreografen von „Double Portrait“, entwerfen in ihrem ‚Duett’ – entgegen Naïma Ferrés skulpturaler Qualität – vielmehr eine bewegte Bildfläche, die paradoxerweise auch in der Tiefe des Bühnenraums Bild bleibt. Dieses Portrait der entstehenden Vexierbilder, Zwillingsgestalten und vielfachen Spiegelungen zwischen den Körperbewegungen von Przemek Kaminski und Nir Vidan zeichnet zugleich ihr je individuelles Portrait als Performer nach. Lediglich in den Momenten, in denen aus den Beinen Hände wachsen und kein Anfang des einen, noch Ende des anderen Körpers mehr zu finden ist, lediglich dann verschwimmt der einzelne Körper vom Nebeneinander in ein Miteinander verknoteter Gliedmaßen.

Die Soundcollage des Komponisten Damir Šimunovi irritiert schließlich den über die stetige Wiederholung der Bewegungen induzierten Sog der Aufmerksamkeit und legt eine zweite Ebene über die Gegenwart der Bühne. Stimmengemurmel, Straßengeräusche, ein anfahrendes Moped und unter allem ein treibender Rhythmus spalten auditive und visuelle Aufmerksamkeit und eröffnen kurioserweise einen zweiten Raum jenseits der Bühne.
Sei es der in „Turning Solo“ bewegungsinduzierte Drehwurm am Ende des Stücks oder die offengehaltene Irritation über das Auseinanderdriften von Sound und Bewegungsbild der Bühne in „Double Portrait“ – dieser Abend wirft das Publikum in vielfältiger Weise zurück auf seine eigene Wahrnehmung. Beide Stücke sprechen mit ihrer minimalistischen und fokussierten Körperarbeit unser Vermögen an, im Zuschauen den Bewegungen anderer am eigenen Körper nachzuspüren. Oder aber es war der knurrende Magen, der den eigenen Körper während des Abends in diese Sphären hat abdriften lassen, stellt einer der Zuschauer am Ende augenzwinkernd und begeistert fest.

Mit „Turning Solo“ und „Double Portrait“ setzt Isabelle Schad ihre Portrait-Reihe fort, die 2015 mit „Fugen“ begann und dem 2016 die Produktion „Solo für Lea“ folgte.