19.-21.Juli 2013 in der Wiesenburg-Halle

Choreografie: Isabelle Schad
Co-Choreographie und Performance: Irina Goleva, Ivaylo Dimitrov, Ognian Golev
Musik: L.v.Beethoven, Große Fuge B-dur op.133

am: 19. + 20. + 21. Juli 2013, 19Uhr

in der Wiesenburg-Halle, Wiesenstrasse 55, 13357 Berlin • S-Bahn Humboldthain
Tickets: 3 – 10 €, begrenzte Anzahl der Plätze, Reservierung unter: stantepede@gmail.com

“... Regel, Zeitverhältnisse, Wechsel, Wiederholung, Puls -
die Traktate der Zeit verwendeten diese Begriffe, um den Organismus als ein spezifisches Ordnungsgefüge zu kennzeichnen, genauer als eine Struktur, die ihre eigene Zeit in sich enthält. Rhythmus war dabei jene Regel, nach der sich der Wandel der Erscheinungen zu einem kohärenten Gebilde zusammenfügte und das Werden des Organismus neu gedacht werden konnte.”
(Janina Wellmann, Die Form des Werdens).

Experience # 0.3 lotet Formwerdung aus der Perspektive unserer embryonalen Entwicklungsmuster aus, und das Schreiben von Tanz als Konsequenz von Bewegung, die wir in diesen Entwicklungsmustern (alle einmal) durchlaufen haben. Aus den raum-zeitlichen zellulären Verhältnissen, die Bewegung beinhalten und in ständiger Veränderung sind, entsteht eine Choreographie, die sich zu (natürlichen und technischen) Rhythmen allmählich entfaltet und sich letztlich in ein kompositorisches Spannungsverältnis zu L.v. Beethovens Großer Fuge wagt...

Produktion: “Based on actual events” organisation und Isabelle Schad
Mit Unterstützung des Goethe Instituts Bulgarien, des Bulgarischen Kulturministeriums, des bulgarischen Kulturinstituts Berlin,
National Cultural Fund, Foundation Etud, Uferstudios GmbH, Tanzfabrik Berlin, Wiesen55 e.V.
Isabelle Schad erhält die Basisförderung 2013/14 der Berliner Senatsverwaltung für kulturelle Angelegenheiten

See online : Wiesenburg-Halle

Published 15 July 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