Berlin Premiere @ Uferstudios

Der Bau
Isabelle Schad & Laurent Goldring

Berlin Premiere 31. Januar 2013, 19.30Uhr
weitere Termine: 1. + 2. + 3. Februar 2013, 19.30Uhr

Uferstudios • Uferstudio 14 • Badstraße 41a • 13357 Berlin •, Info & Reservierung:;

In Kafkas unvollendeter Erzählung Der Bau wird ein Tierbau beschrieben, der aus dem Körper selbst heraus geschaffen ist und immer noch zu ihm gehört – seine Formen, Spuren, Gerüche, Ausscheidungen und Reserven, Hoffnungen und Verzweiflungen in sich tragend. Sie dient uns als titelgebende Metapher und Ausgangsbasis für die weitere Erforschung der besonderen Beziehung zwischen Körper und Raum, die wir mit der Stückreihe Unturtled seit 2008 begonnen haben.
Während des Arbeitsprozesses an Der Bau wurde klar, dass der Raum selbst ein Organ und als Extension, als Verlängerung des Körpers anzusehen ist. Zum Verständnis dieser Idee hilft uns die Ansicht Rilkes über den Bildhauer Rodin, wonach dieser nicht den Körper zur Skulptur formt, sondern die Räume um die Körper herum.
Aus großen Stoffbahnen schaffen wir einen planen und flüssigen Raum: Die Stoffe als äußere Schichten (Gewebe) werden wie innere Schichten (Gewebe) behandelt, und sie reagieren überraschend lebendig, zugleich als Körperteil, als Hülle und als Partner.

Konzept und Choreographie: Isabelle Schad, Laurent Goldring
Komposition, Sound Design: Peter Böhm
Lichtdesign: Mehdi Toutain-Lopez
Technik: Martin Pilz, Mehdi Toutain-Lopez
Produktionsmanagement, PR: Susanne Beyer, Heiko Schramm
Produktion: Isabelle Schad in Kollaboration mit Espace Pasolini Valenciennes & Monty Antwerpen
Gefördert durch den Regierenden Bürgermeister von Berlin, Senatskanzlei – Kulturelle Angelegenheiten und den Fonds Darstellende Künste e.V.
Isabelle Schad wird unterstützt durch die Basisförderung 2013/14 des Berliner Senats
Mit freundlicher Unterstützung: La Ménagerie de Verre Paris, Uferstudios Berlin & Wiesen 55 e.V
Dank an: Team des Espace Pasolini Valenciennes, Team der Uferstudios Berlin, Heike Albrecht, Marion Montel, Susanne Foellmer, Frances d’Ath, Kathryn Sauma
Im Anschluss an die Vorstellung am 1. Februar findet mit Heike Albrecht, Susanne Foellmer, Laurent Goldring und Isabelle Schad ein Publikumsgespräch statt.
BAUstellen. Tanzwissenschaftliche Interventionen
Von und mit: Christina Amrhein, Charlotte Riggert, Ronja Ruppert, Katharina Schmidt (Studierende des Masterstudiengangs Tanzwissenschaft der FU Berlin).
Leitung: Jun.-Prof. Dr. Susanne Foellmer, Termin: So, 3. Februar 2013, 11 Uhr, Uferstudios

See online : uferstudios

Published 21 January 2013

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