(OP)POSITIONEN ZU O.S. BEI TANZLOKAL / WKV Stuttgart, EIN TANZFONDS ERBE PROJEKT

Die beiden installativen Choreographien DER BAU und FORM UND MASSE setzen sich mit dem Um-Raum des Körpers auseinander. Dabei werden Themen Oskar Schlemmers um das Verhältnis zwischen Körper, Kostüm/Objekt und Raum aus einer ganz anderen Perspektive betrachtet.
Schlemmer läßt im Stile Bauhaus’ stringent Geometrien, Volumen, Formen und ‘Objekt-Körper’ zutage treten. In der Gegenüberstellung dazu, betrachten die beiden Arbeiten DER BAU und FORM UND MASSE den Raum um den Körper herum als ein (zusätzliches) Organ.

1. DER BAU – Installative Version
Konzept: Isabelle Schad & Laurent Goldring
Performance: Isabelle Schad
Die installative Version zum Stück ’Der Bau’ wird in Stuttgart zum ersten Mal zu sehen sein.
2. FORM UND MASSE
Konzept und Choreographie: Isabelle Schad
Co-Choreographie und Performance: Sonja Pregrad


Form und Masse untersucht das Verhältnis zwischen Energie und Materie, zwischen Material, Bewegung und daraus entstehender Form. Mit Styroporkügelchen gefüllte Sitzsäcke dienen uns als Verstärker des Sichtbaren: Sie kreieren einen Raum um den Körper herum, der als vom Körper selbst generiert angesehen werden kann. Die Masse der Styroporkügelchen korrespondiert mit der zellulären Masse des Körpers, den Trillionen an Zellen, aus denen wir bestehen. Es ist erneut dieses Übergangsobjekt, das als letzte innere Schicht und als erste Schicht – als Bindeglied – zur äußeren Welt angesehen werden kann – ähnlich des Spielzeugs eines Kindes. Es macht existierende Bewegungsmuster, welche auf energetischen Grundprinzipien basieren, wie ein Verstärker sichtbar und zugleich zum Objekt, das betrachtet wird, währenddessen die bewegungsgenerierende Person Subjekt des Geschehens bleibt. Der Raum um den Körper herum kann auch hier als ein Organ betrachtet werden; eine neue Sichtweise, Raum bzw. Innen-/ Außenraum des Körpers zu choreographieren.
Termine:
Freitag, 6. September, 17:30 Uhr, Württembergischer Kunstverein
Samstag, 7. September, 17:00 Uhr, Württembergischer Kunstverein
Sonntag, 8. September, 13:30 Uhr, Württembergischer Kunstverein
(DER BAU und FORM UND MASSE werden abwechselnd in jeweils ca. 15-minütigen Zeitfenstern gezeigt)

See online : TANZLOKAL 2013 - EIN TANZFONDS ERBE PROJEKT

Published 1 September 2013

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

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

Published 12 October

14.10.2021 PERSONNE IN ZAGREB

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:
https://en.naimaunlimited.com/library/a-room-full-of-particles-a-living-archive-for-isabelle-schad/

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