25.+26.9. (Premiere) and 6.10. at the dance center zagreb

concept and choreography: Isabelle Schad
choreography and interpretation:
Selma Banich, Nino Bokan, Sasa Bozic, Marko Jastrevski, Marko Kalc, Nikolina Komljenovic, Rina Kotur, Nina Kurtela, Maja Marjancic, Sonja Pregrad, Ivana Roncevic, Karolina Susa, Martina Tomic, and Ivana Vrataric
dramaturgic advisor: Sasa Bozic
music: Johann Sebastian Bach
light design and sound: Bruno Pocheron
light engineer: Miljenko Bengez
production: ekscene

Realized in collaboration with the Platform of Young Choreographers / TALA and Zagreb Dance Centre / HIPP, and supported by the Culture of Change – SC Gallery, the Holistic Centre PYR, Marija Scekic and Offstudio.

Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to individual interpretation, and occasionally controversial. Within "the arts", music may be classified as a performing art, a fine art, and auditory art.
Glazba - the croatian translation for music and score - is a work that searches for comparable ways in writing dance, considering the body as an instrument. Glazba looks for relationships between the visual and the auditory, between musical terms and its translation into body language and aims to compare musical terminology and concepts with physiology, choreographic writing or compositional elements in dance.
The overall concept is thought as a large research field around music, out of which different pieces can be created - each of them will be titled Music, translated into the respective language of the country where it will be created and presented. A concept that ’meets’ different people from different cultures, backgrounds, countries and that results each time in a new and different kind of work in regards to the participants’ respective histories.
Within that concept we are focusing on and questioning issues like: the relations between body practices and choreographic works, the presentation of bodies in activities to be looked at and the proposition of a shared time involving the spectator’s personal experience, emotions and imagination. Glazba thus deals with modalities of working and thinking and their effect on (re)presentation.

’Rhythm appears as music when it invests the auditory level, and as painting when it invests the visual level.’
(Francis Bacon by Gilles Deleuze)

The notion of looking back into the possibility to dance like music or even with music has been very curious to me, and after years of working in the field of conceptual dance and performance this project brings me back to the very essence of my questions: how to be able to propose the (dancing) body in the more plain way as subject to be looked at? What are those connections between visual and auditory, between seeing and hearing, conducting and painting?
Glazba is a search for the motivations and origins of moving, dancing, being there in present time and how this can relate to music, sounding, vocalizing, breathing, being there again...
The notion of creation becomes somewhat relative to the learning process that we have been starting to share within 7 weeks throughout one year. This learning process is based upon practice, body practice, in which we are studying complex physiological processes (like embryology) that make us reflect upon space, environment, relationship, self, other in so many ways; that make us look at the creation of a piece as a softening process, as allowing to come forth with such a process. And then: is it an inside or an outside learning? How can experience make us understand or learn anew? See anew? In order to forget the images that we know already, we need to find new images, but then those new images can become again ’fixed’ images that we need to forget so that we can learn again, see again. In order to reconsider ’form’ we need to look into what ’in-forms’ the form.
The question that appears then is: How to share those experiences in the frame of a public performance. What can be shared, where is meaning emerging and is there a space for the one who is watching to construct his/her own and personal experience, with those kind of associations, images, emotions that connect to each person’s own (hi)stories.
Can the position of the conductor, the painter and the spectator be one and the same and how can this painter who has been painting disappear through the crack of a door in the image...

(Isabelle Schad)

Published 25 September 2010

COMING SOON: Solo for Claudia and Josephine / Bodies of Light

We are thrilled to inaugurate the next season with a new work: Solo for Claudia and Josephine / Bodies of Light .
Come and join us on 10 and 11 September at Tanzhalle Wiesenburg.

Solo for Claudia and Josephine / Bodies of Light is a continuation of the portrait work Solo for Lea (2016).
Based on the same score, the new work plays with reflection by transcribing the solo onto two persons who shadow, mirror, hide one another, who amplify one another’s contours, rhythms, colours and personal energies. Claudia Tomasi and Josephine Findeisen both worked on their own interpretation of the solo before coming together now to dance it at the same time, melting materials and highlighting each other’s specificities.
The core of the work unfolds between visual art and dance, between performance and installation, between sensual experience and abstraction – and plays with formal aspects of cubism and Picasso’s drawings in one dash. Together we engage in constellations of forming and disfiguring, in which the body itself becomes the stage: the space, place and matter that is under observation.

Concept & Choreography: Isabelle Schad | Co-Choreography & Performance: Claudia Tomasi, Josephine Findeisen | Composition & Sound: Damir Šimunović | Light Design & Technical Direction: Bruno Pocheron | PR: Elena Basteri | Production Management: Heiko Schramm
Production: Isabelle Schad
funded by: Berlin Senate Department for Culture and Europe
thanks to: Wiesen 55 e.V
Tanzhalle Wiesenburg is supported of the Berlin Senate Department for Culture and Europe

Dates and Time
Saturday 10.09.2022 at 6 pm (premiere) + 8 pm
Sunday 11.09.2022 at 7 pm

Tanzhalle Wiesenburg, Wiesenstrasse 55, Wedding, 13357 Berlin

Box office only, the number of places is limited. Please register at: A donation of 5-10 € is welcome.

pic. Isabelle Schad, all rights reserved

Published 31 August

FUR, Turning Solo 2, Rotations at Tanzwerkstatt Europa/Reviews

One of this summer’s highlights: participation in Tanzwerkstatt Europa conceived and organized by Joint Adventures.

Together with the teaching experience within the dance academy camp SOLID GROUND we had the honour of showing FUR, Turning Solo 2 and Rotations.

We are happy about the flattering reviews:

"Isabelle Schad, Meisterin des körperlichen Trompe-l’oeil, hat das Solo "Rotations" ganz auf die Extremitäten von Claudia Tomasi zugeschnitten, die ihre Finger flirren, ihre Handgelenke rotieren und ihre Arme sich so lange in- und auseinanderfalten lässt, bis man sie als vom Restkörper losgelöste Werkzeuge sieht. Auch "Turning Solo 2" - ein faszinierendes Frage- und Antwortspiel zweier Tänzerinnen, die sich (Dreh-)Bewegungsaufgaben wie im Staffellauf übergeben und mit eigenen Variationen versehen weiterreichen - ist eine Herausforderung für das Auge. Aber nichts gegen das, was Aya Toraiwa in "Fur" mit ihrem knielangen Haar anstellt. Wie es sich hinter ihr auf dem Boden mitrollt oder wie ein Vorhang geteilt wird, aus dem alberne Finger wie Stielaugen und gefräßige Mäuler ragen, zum wohligen Nest oder Tau mutiert, an dem sie sich selbst in die Höhe zieht: Das evoziert Assoziationen zu Bondage-Praktiken und zum Objekttheater. Das Haar als Fetisch und eigenes Wesen: eine Zuschau-Lust!"
Sabine Leucht, Süddeutsche Zeitung, 7.08.2022

"[...] Dafür sorgten tags darauf Isabelle Schads Interpretinnen für imposante Eindrücke, angefangen bei Aya Toraiwa, deren wadenlanges, fülliges Haar eine umwerfend wandelbare Hauptrolle in "FUR" spielt. In "Turning-Solo 2" teilen sich zwei Tänzerinnen eine simple Choreografie und garnieren deren jeweils eigenen Fluss mit kleinen Eigenheiten. Claudia Tomasi beeindruckte zuvor nachhaltig: Für ihre langgliedrige Figur hat die 2019 mit den Deutschen Tanzpreis geehrte Schad "Rotation" kreiert - ein eindringliches Solo, bei dem die Losgelöstheit der Arme vom Körperrest verblüfft."
Vesna Mlakar, Abendzeitung, 10.08.2022

pic. Turning Solo 2 by Dieter Hartwig, all rights reserved

Published 26 August

Teaching for SOLID GROUND in Munich

Working with a wonderful group of students coming from different European universities within the dance academy camp SOLID GROUND at Tanzwerkstatt Europa Munich.

Within the workshop we first dedicate ourselves to a daily training. Based on movement principles deriving from ’somatics’ and from Asian techniques such as Aikido, Shiatsu, stretching and breathing techniques, the choreographic practice unfolds: It becomes materiality that can be sculpted in space and time. Here we develop sketches and elements that are part of the research of some of my recent group works or that simply stand for themselves. The central question here is the notion of subjectivity within a collective moving body that can only function as a whole: how can we perceive ourselves as part of a larger whole, and what does that mean as a choreographic practice, as well as a stance to take?

Grateful to Joint Adventures for making this joyful and intense experience possible.
See the whole program here

pic. by Isabelle Schad, all rights reserved

Published 30 July

Bea Kiesslinger

Bea Kiesslinger
09.02.1964 - 31.05.2022

Wir trauern und halten inne.
Für unsere geliebte Bea.

Liebe Bea,

Ich wollte Dir sagen, wie froh ich bin, daß wir uns kennenlernen durften und wie dankbar ich Dir bin. Dein Wesen, Deine mitreißende Energie, Dein genaues Hinschauen auf die Dinge, Deine Freude beim Tanzen oder beim Zusehen haben mich immer mitgenommen und fasziniert.
Wir beide haben viele tolle Zeiten und Momente miteinander gelebt, die ich nie vergessen werde: Wie wir zusammen Schwatzen und Tratschen waren in dem einen oder anderen Restaurant, wie wir Politik im Allgemeinen und für den Tanz im Besonderen diskutiert haben, wie wir Pläne geschmiedet haben, was es zu bewegen, verändern oder einfach zu TUN gibt. Wie Du zu der einen oder anderen Feier in die Wiesenburg kamst und Dich so sehr gefreut hast - über die Stimmung im Garten, die Musik und alles…einmal standen wir da, Arm in Arm beim Blues Konzert am Ende eines Abends - es war, als wären wir alle verzaubert gewesen.
Aber auch wie wir in den Kontakt durch tiefe Berührung gegangen sind beim Shiatsu, sowie die kleinen Abenteuer bei den POSITIONEN TANZ in Essen im Rahmen der Tanz-Preisverleihung.
Ich werde diese wertvollen Erfahrungen, die vielen, schönen Begegnungen nicht vergessen.
Ich weiß noch, wie Du meine kleine Danksagung zum Anlass der Tanz-Preisverleihung im Vorfeld gelesen hattest und mir sagtest: ‘da kann aber noch mehr rein. Du hast doch auch etwas in der Gesellschaft bewegt und verändert durch Deine Arbeit, kann das nicht irgendwie rein?’
Ich habe daraufhin alles nochmals umgeschrieben, dann warst Du erst zufrieden.
Liebe Bea, jetzt danke ich DIR von ganzem Herzen. Du hast unfassbar viel für mich und uns alle getan: für unsere kleine Tanz Community, die vielleicht doch nicht so klein ist, und die von dort aus etwas in unserem kollektiven Bewusstsein - und somit im Bewusstsein der heutigen Zeit dieser Welt - bewegt.
Dieses Bewusstsein wird in den vielen Verbindungen, die Du mit Deiner Art Bewegung in die Dinge zu bringen geschaffen hast weiterleben und weiter danach drängen, positive Entwicklungen zu durchleben.

In Liebe und Dankbarkeit,

Published 22 June

Wiesenburg Sommerfest.ival 2022, 1-3 July CHECK THE PROGRAMME!

Wiesenburg Sommerfest.ival 2022 will take place July 1-3 at Tanzhalle and Werkhalle Wiesenburg.
Among others The Shift of Focus by Isabelle Schad will be presented.

Have a look at the programme here.

All events are for free. A donation of 5-10 € is welcome. Limited places available for The Shift of Focus
Please register at:

Looking forward to see you at the Wiesenburg and celebrate summer together.

pic. Isabelle Schad, all rights reserved

See online : Tanzhalle Wiesenburg

Published 16 June

New article about Reflection

Happy to share a new review about Reflection by Bettina Schulte, appeared in the Badische Zeitung. Read here.

Published 3 June