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

About the Sommerfest.ival

Three questions to Isabelle Schad about the idea of the Sommerfest.ival

Tanzhalle Wiesenburg and the Humboldthain – venues of the festival together with the Werkhalle Wiesenburg – have been a home and a refuge during the pandemic. How have you inhabited them in the past months?

Very soon after the second lockdown began, I started to invite members of my team – dancers, light and sound designers, anyone who wanted – to join me in the park at Humboldthain for regular training sessions in the morning.
It’s been a way of staying together: for oneself inside the pandemic, during which distance v. contact has become the central change, and among ourselves as a team and people who like one another.
It’s become a regular practice in which we learn new techniques derived from aikido with the stick and the sword, and it’s been a strong factor in as much it began to change the depth of the/my work in the field of performance, movement, dance …
On the other hand our own space, the Tanzhalle Wiesenburg, has been a refugee for us as a team: we restructured the space, did building work, had a place for gathering during the winter time and worked on small formats, respecting the rules for staying safe and healthy …
So the whole area around Humboldthain in Wedding has become a central point of meeting, and we developed our own ‘liveliness’ and home over there during that time, which has left good traces.

And now with this festival you’re sharing your work and practice with the public. What is the inspiration and intention behind it during this (still) special time?

The idea was to share some of that liveliness with an audience, or simply with a larger group of people, with friends.
The notion of being and doing things together is a central point. What can sharing be?
How does it feel doing the warm-up practice together in the park and then to witness another type of practice that can become an (invisible) performance – open-air, but at the same time worked for the theatre and now stripped of all possible theatrical signs (of representation)?
How can it be seen in its most essential presentness?
How can the material be looked at as a symbiosis of relationships between us as persons, as human beings and nature?
Relationships between culture and nature, inside and outside, self and other? How is it then to travel back to Wiesenburg, where installations happen indoors and concerts outdoors, where ‘doing things’ meets the notion of ‘seeing things’, ‘hearing things’, being together, relaxing and enjoying together.

The festival presents existing works in new forms and newly adapted versions. But there is also a thematic fil rouge around the idea of infinite movements.

The notion of infinite movement – movement that has no beginning and no ending, like all movements of life: walking, flying, climbing, etc. – has been a focus in my work for a long time. Weight shift and its movement patterns that repeat themselves but are continually new and different is the core material I’m dealing with.
That’s why the training and movement practice is so central to my work. When the looping and repetitive patterns are made visible they can become a living sculptural entity. In the working process I observe the places where things become visible and start to form … form the formless and leave the form again … alive material that is life itself: everything is vibrant movement.

Published 18 September

PREMIERE HARVEST / Tanzhalle Wiesenburg

We are pleased to invite you to the Premiere of Harvest, a dance performance for people of all ages, from 3 and upwards. The work is a production by Theater o.N. as part of the “Offensive Tanz für junges Publikum Berlin”.

16. – 23.09. 2021 Premiere and further performances

Info and tickets:

Pic. by Dieter Hartwig, all rights reserved

Published 16 September


We are pleased to invite you to the Premiere of Personne, the new work by Isabelle Schad and Laurent Goldring, 9-12.09.2021 at Tanzhalle and Werkhalle Wiesenburg Berlin.
Part of the programme is the exhibition Les yeux sans regard, by Laurent Goldring, and an Open Practice Session with Isabelle Schad.
See details below.
We would be delighted to see you there.

all images by L.Goldring, all rights reserved.

PDF - 89.6 kb

See online : TanzhalleWiesenburg

Published 29 August


August 6-9 2021


We are happy to present a selection of works, newly adapted in durational and open-air versions, Open Practice Sessions and much more...

All events are free of charge. The number of places is limited.
pic by D.Hartwig. all rights reserved. Turning Solo 2 at Sophiensaele. It will be presented as an Open Air Version during this edition of our SOMMERFEST.IVAL

See Programme and details attached.

PDF - 132.8 kb

Published 30 July

Premiere @ Sophiensäle

JULY 22-26 | 20.00
15/10 €

JULY 22 23 | 8.00 PM | FUR + ROTATIONS
JULY 26 | 8.00 PM | FUR + TURNING SOLO 2

The works FUR, Rotations and Turning Solo 2 are part of an ongoing series by choreographer Isabelle Schad, in which she moulds rhythms and energies into choreographed experiences. Together with the performers, she creates three very personal portraits. The works invite to dive into a process of timelessness, of closeness and contemplation.

TURNING SOLO 2 is a continuation of the work Turning Solo. NAÏMA FERRÉ’S whirling practice has been 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. In 2020, dancer and choreographer JASMIN İHRAÇ reworks the score and her interpretation made it become its own universe: another person, another portrait. Turning Solo 2 now brings both portraits together for the first time to form a double that can be experienced simultaneously.

FUR is an encounter with the Japanese dancer AYA TORAIWA and her hair, which reaches her knees. The hair covers and clothes, becomes a shelter and a prosthesis: a fur-like outer layer and extension of the body, the energies, the self. The fragile material around the body reveals what seems hidden and acts as a transition between the inner and outer worlds.

In ROTATIONS, the movements of the dancer CLAUDIA TOMASI rotate and accumulate into an energetic flow, creating the illusion that her body is moving by itself. Between precision and loss of control, the choreography creates an astonishing energy.

pic: D.Hartwig, all rights reserved.

See online : Sophiensäle

Published 2 July

Double Bill evening with Pieces and Elements and FUR @ Globe Theater

Nach dem erfolgreichen Gastspiel mit Turning Solo im September 2020 kehrt Isabelle Schad jetzt mit ihrer wegweisenden Gruppen-Choreografie Pieces and Elements und mit dem choreografischen Portrait FUR auf die Open Air Bühne des Globe Theaters zurück. In Pieces and Elements verhandelt eine Gruppe von Performer*innen ihren kollektiven Körper in Bewegung, der nur als gesamter funktionieren kann, analog zu zyklischen Vorgängen in der Natur. Die Neuinterpretation wird eigens für das Globe Theater adaptiert und in dieser Version zum ersten Mal gezeigt werden.

FUR ist eine Begegnung mit der japanischen Tänzerin Aya Toraiwa, befasst sich mit ihren spezifischen Körpermerkmalen, ihren Rhythmen, Konturen, Farben, Energien und insbesondere mit ihrem knielangen Haar. Ihr Haar bedeckt und bekleidet, wird zum Schutzraum und zur Prothese: eine fellähnliche äußere Schicht und Verlängerung des Körpers, der Energien, des Selbst.

Eine Produktion von Isabelle Schad, Unterstützt durch DIEHL+RITTER/TANZPAKT RECONNECT, gefördert von der Beauftragten der Bundesregierung für Kultur und Medien im Rahmen der Initiative NEUSTART KULTUR. Hilfsprogramm Tanz“ Dank an: Wiesen55 e.V.
pics: D.Hartwig. all rights reserved.

PDF - 467.1 kb
PDF - 145 kb


See online : Globe Theater

Published 13 June