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

Studio visit 17.12 at 2pm

We are offering an informal studio visit 17th December at 2pm around the work on the score of Solo for Lea with Josephine Findeisen. If you would like to book a visit, please contact Isabelle at is[at]
It would be nice to see you there!

pic. by Isabelle Schad
all rights reserved

Published 15 December 2021

6.-9.12.2021 First research week at HfMDK in Frankfurt

Great pleasure working together for the Biennale Project in Stuttgart

pic by Isabelle Schad
all rights reserved

Published 13 December 2021

Trailer of Sommerfest.ival 2021 OUT NOW

We are pleased to have published today the trailer of the sommerfestival 2021.
Enjoy a touch of summer in the cold winter!
Thanks again to all those who participated.

Have a look by clicking here

Published 13 December 2021

25 NOV. : Reflection in Ljubljana for CoFestival 2021

Thrilled to go on stage again with this group piece after two years.
In the program of the festival the work is beautifully announced:

The website of choreographer Isabelle Schad, who was honoured for her outstanding artistic development in contemporary dance
as part of the German Dance Award in 2019, introduces her work by saying that it focuses on the materiality and processuality of the
body and on its possibility to be experienced. At exactly this intersection, she deals with the relationship between body, choreography and (re)presentation and issues of community building and political engagement. This programme note could hardly summarise more accurately the artistic commitment of this choreographer, who has stripped contemporary dance of its stylistic, formal, compositional and figurative clutter, and theatre dance of its identity specificities, so that bodies do not encounter themselves or others in anything but their very material and human potentiality. Isabelle Schad no longer needs any of the established social rituals, configurations, manners and patterns (of behaviour) that Pina Bausch had delightfully and humorously brutalised in her choreographies. In her trilogy on collective bodies, which she began with the work Collective Jumps (hosted at CoFestival in 2016) and concluded with her performance Reflection, the choreographer is not concerned with the dismantling of social compositions or ideological body trainings, but with the potentiality of
human presences (with the archive of the unrealized), which can only emerge in the form of critical modalities of action when bodies arrive to themselves. Once they enter the realm of difference, into the condition of what they can only become. Perhaps this is why we are so struck by the performances of Isabelle Schad, because, if only for a brief moment, as in Reflection, time is reversed and human bodies are given some perspective, we are suddenly struck by how rare it is to see people in dance performances without the choreographies showing (representing) them. People, with the fragile and unstable fullness of their bodies. When this happens, the political character of dance becomes more apparent, which has to give up (self-)performance in order to find its way to another body.

More Info:

Published 23 November 2021

Isabelle Schad on Instagram

From today you can follow us on INSTAGRAM at:

Published 9 November 2021

12-13 Nov: FUR and TURNING SOLO 2 at the Potsdamer Tanztagen 2021

This upcoming weekend, join us at Fabrik Potsdam, just one hour outside of Berlin. In the frame of the festival Potsdamer Tanztagen we will show FUR and Turning Solo 2, two recent works that invite the audience to a timeless experience of closeness and contemplation.

Click here for further Info and tickets.

Published 9 November 2021