Communicare in Arequipa


Este proyecto es presentado por la Alianza Francesa de Lima junto con el Goethe-Institut Lima, en colaboración con la Escuela de Danza Contemporánea de la Pontificia Universidad Católica del Perú.
Este proyecto organizado por la Alianza Francesa, el Goethe-Institut de Lima y la Pontificia Universidad Católica de Lima traen a nuestro país un proyecto de danza del más alto nivel, que tiene como intención final acercar la danza contemporánea de Europa al público peruano y fomentar la profundización de un diálogo artístico entre la escena de danza peruana y la europea.
Con este fin visitarán Lima la bailarina y coréografa alemana Isabelle Schad y su partner artístico, el francés Bruno Pocheron, con el fin de trabajar y crear junto con la bailarina y coreógrafa peruana Mirella Carbone reconocida por su calidad humana, artística y profesional y jóvenes bailarines de Lima y Arequipa una perfomance alrededor del tema „cuerpo/sistemas corporales/comunicación“.
El proyecto en cuestión parte de un taller de danza en el cual se creará como producto final una coreografía que será presentada en el Teatro de la Alianza Francesa de Lima (2 funciones) y en la Pontificia Universidad Católica de Lima. Luego una selección de bailarines del proyecto acompañaran a los coreógrafos Isabelle Schad y Bruno Pocheron a Arequipa para ofrecer los resultados del taller a través de una performance dirigida al público arequipeño y de manera especial a la escena de danza de esta ciudad. Para tal fin contaremos con la colaboración del Instituto Cultural Peruano-Alemán de Arequipa y la sede de la Alianza Francesa locales.
Para Isabelle Schad el espacio teatral es el lugar de la imaginación en el que se definen las preguntas y se replantean nuestras maneras de ver y de percibir. Ella trabaja desde hace 7 años en un intenso intercambio con el también muy famoso coreógrafo francés Bruno Pocheron. En sus proyectos conjuntos suelen enfocar las relaciones que establecen los cuerpos con sus lenguajes y sus representaciones, dinámica a la cual se acercan desde principios conceptuales concretos para desarrollar luego aproximaciones coreográficas que incluyen elementos provenientes de las artes plásticas y de los medios audiovisuales.

Communication is a process of transferring information from one entity to another, a two way process in which there is an exchange and progression of thoughts, feelings or ideas towards a mutually accepted goal or information.
It is through communication that collaboration occurs. The work requires thus a certain method of working that is practice orientated and includes a vast repertoire of skills in listening, observing, speaking, questioning, analyzing and evaluating.
In the big field of communication we would like to focus within the nonverbal means on body language including non-human communication (=every information exchange between living organisms like e.g. animal communication, cellular communication) and bring the developed choreographic material on another level in communication with auditory means (like sound, music, noise, voice) and visual means (through the use of lights). Non-verbal language allows us to consider the body as a voice itself, almost like in music. What are those connections between visual and auditory, between seeing and hearing, conducting and painting?

Sábado 11 de Diciembre | Teatro del Cultural Peruano Norteamericano

See online : ICPA

Published 14 December 2010

23-24 October 2021, DER BAU- GRUPPE/KIDS

Tickets still available on the website of Theater o.N.

Published 12 October


The new work by Isabelle Schad and Laurent Goldring travels to Zagreb
for the Dance Inn Festival

Published 12 October

Isabelle Schad for Somatic Charting. The House is the Body

October 8 and 9, 2021
A two days of intensive sharing in the frame of Somatic Charting.The House is the Body.

Published 12 October

1+ 2 Oct. HARVEST in Helios Theater (Hamm)

Published 1 October

OUT NOW: A Room Full of Particles. A Living Archive for Isabelle Schad.

We are delighted to announce the launch of our digital publication A Room Full of Particles. A Living Archive for Isabelle Schad.

You can download it from the website of our publisher Naima Unlimited:

Published 29 September

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