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

OPS @ Humboldthain

OPS has started to adapt to the current circumstances of the Pandemie:
Practice outside at Humboldthain:
This is a short message, letting you know that I ll do some movement practice, Qi Gong and training with the Jo (wooden Stick, coming from the Aikido practice) almost every day 10-11:30 from now on. If you are interested in joining, please send me a message before and we can check the details then. Isabelle

Published 3 January

Reflection / Zoom sharing @ Hong Kong Academy for Performing Arts

I have had the pleasure to share this work with students and audiences connected to the Hong Kong Academy for Performing Arts. In collaboration with Goethe Institute Hongkong.

After sharing 30min excerpt from the piece on video, we have started a conversation around the topics, practices and concerns touching this work and my practices in general. I have been impressed by the questions coming from the students during this Zoom Meeting, thank you so much.
18. November 2020, 11 - 13h German Time.

pic: D. Hartwig, all rights reserved.

Published 18 November 2020

Der Bau-Gruppe / Kids @ FRATZ

It is a real pleasure to be able to prepare and present our piece DER BAU-Gruppe / Kids for kids (and adults) from 3 years onwards.

We are also proud to present it in the space where it has been created and developed at first: at Tanzhalle Wiesenburg. It is now shown in the frame of FRATZ Festival Berlin 2020.

Eine Bühne voller schwarzer Säcke. Langsam erwachen sie zum Leben, sie richten sich auf, bewegen sich fort, erkunden den Raum. Plötzlich erscheint ein Arm, dann ein Bein, schließlich ein ganzer Mensch. In Franz Kafkas unvollendeter Erzählung »Der Bau« wird ein Tierbau beschrieben, gebaut von einem Tier, das in den unterirdischen Höhlen und Gängen Schutz sucht und sich dann zunehmend darin verliert. Die Erzählung dient als titelgebende Metapher und Ausgangsbasis für die Erforschung einer besonderen Beziehung zwischen Körper und Raum.
pic: D.Hartwig. all rights reserved.

Freitag 23.10.2020 : 9h und 11h
Samstag 24.10.2020 : 15h und 17h
Tanzhalle Wiesenburg Berlin. Wiesenstr.55.

Samstag 24.10.2020 : 20-22 Uhr
Klein, aber oho!
Choreograf*innen über die Arbeit für ein (sehr) junges Publikum

See online : FRATZ Festival

Published 20 October 2020

Pre-Premiere @ Transart Bozen

In a set of two frames which take the center and mirror one another, her movements rotate and accumulate towards a complex, highly physical outflow.

pic: I.Schad, all rights reserved.

23.09.20, 20:00
Via Macello 38
39100 Bolzano

See online : Transart Bozen

Published 26 September 2020

Turning Solo @ Globe Theatre

Turning Solo @ Globe Theatre with Jasmin Ihrac
08.09.2020, 19:00 - anschließend Konzert mit dem Uli Geissendoerfer Trio
(Open Air am Österreichpark, Charlottenburg)
10589 BERLIN

Nach vielen Aufführungen im Theater und in Museen ist TURNING SOLO zum ersten Mal als Open Air Performance im Globe Theater Berlin und in der Interpretation von Jasmin Ihrac zu sehen.

pic: D.Hartwig, all rights reserved.

"Nicht Ekstase ist das Ziel der hoch konzentrierten Selbstverschraubung, sondern die meditative Ausstülpung von Bewegungsenergien, die dem Sog des erzeugten Strudels standhalten. Eine beglückende Doppelmeditation, die die Welt auf jeden Fall besser macht." (Astrid Kaminski)

Published 26 September 2020

Showings@Tanzhalle Wiesenburg

“Knotting is movement that never begins, never ends, ongoing and infinite, repetitive and everlasting performed with highly physical engagement.“

pic: I.Schad, all rights reserved.
When | Friday 4th September 2020 • 20:00h
| Saturday 5th September 2020 • 18:00h • 20:00h
+ Where | Wiesenstrasse 55, 13357 Berlin – Wedding

See online : Wiesenburg

Published 26 September 2020