Werkschau / Retrospective at HAU - On Visibility and Amplifications

Die Choreografin Isabelle Schad und der Bildende Künstler Laurent Goldring haben sich im Laufe ihrer siebenjährigen Zusammenarbeit sowohl in Berlin als auch international einen Namen gemacht. Der spezifische Dialog zwischen einer Bewegungspraxis und einem filmischen Prozess ist der Kern ihrer Zusammenarbeit. Gemeinsam entwickelten sie das Konzept des “Verstärkers”, der nicht-repräsentative Bewegungen sichtbar machen soll. Der Verstärker zeigt sich als überdimensionales Kostüm, als Stofflandschaft und als Gruppe von Performern. Im Rahmen ihrer Werkschau bringen Schad und Goldring fünf gemeinsam produzierte Arbeiten auf die Bühne:

Die im Jahr 2012 entstandene Arbeit "Der Bau" ist von Franz Kafkas gleichnamiger Erzählung inspiriert. Sie dient als Metapher und Aus­gangs­basis für die Erforschung der besonderen Beziehung zwischen Körper und Raum.

In der vierteiligen Serie “Unturtled”, an welche "Der Bau" anknüpft, wird das Kostüm zum Übergangsobjekt. Es ist gleichzeitig äußerste Schicht des Körpers und erste Schicht des ihn umgebenden Raumes. Schad und Goldring betrachten das Kostüm als Organ. Im Rahmen der Werkschau präsentieren sie “Unturtled #1” (2008) und “Unturtled #4” (2011). Letzteres ist zum ersten Mal in Berlin zu sehen.

In “Collective Jumps” (2014) geht eine Gruppe von 16 Tänzern den möglichen Beziehungen von Freiheit und Form nach. Kann der Entwurf eines unendlichen, vereinten, monströsen Körpers ein Ort des kulturellen Widerstands sein? “Collective Jumps” wird in zwei Versionen präsentiert, als Bühnenstück und erstmals auch als Installation.

In der Lecture Performance "An Un-Folding Process" teilt und zeigt Isabelle Schad Auszüge aus den verschiedenen Stücken der Werkschau. Sie gibt überraschende und humorvolle Einblicke in die Kreationsprozesse mit Laurent Goldring. Das Solo entstand im Rahmen des Live Legacy Project: Correspondences between German contemporary dance and the Judson Dance Theatre Movement, wo Schad es erstmals aufführte, und erlebt nun seine Berlin-Premiere.

Susanne Foellmer stellt die Werke der beiden Künstler vor, und die Vorführungen werden begleitet von einer Ausstellung von Goldrings Videoloops der "Körperporträts".
Die Werkschau wird gefördert aus Mitteln des Hauptstadtkulturfonds und durch den Regierenden Bürgermeister von Berlin – Senatskanzlei – Kulturelle Angelegenheiten.

Mittwoch, 06. Mai 2015
Einführung von Susanne Foellmer, 19:30
Collective Jumps (Installation), 19:00 + 21:30
DER BAU, 20:30

Donnerstag, 07. Mai 2015

Collective Jumps (Installation), 19:00 + 21:00

DER BAU, 20:00

Samstag, 09. Mai 2015

An Un-Folding Process, 19:00

Collective Jumps, 20:30

Im Anschluss: Publikumsgespräch / Moderation: Susanne Foellmer

Sonntag, 10. Mai 2015

An Un-Folding Process, 19:00

Collective Jumps, 20:30

Dienstag, 12. Mai 2015

Unturtled#1 & #4, 20:00

Mittwoch, 13. Mai 2015

Unturtled#1 & #4, 20:00

See online : Hebbel-am-Ufer

Published 2 May 2015

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