Hoffnungsträgerin des Jahres 2015

Jahrbuch_tanz 2015, Hoffnungsträgerin Tanz: Isabelle Schad. von Sandra Luzina

pic: Laurent Goldring

Seit sieben Jahren arbeiten die deutsche Choreografin Isabelle Schad und der französische Künstler Laurent Goldring schon zusammen. Hebbel am Ufer widmete den beiden im Mai 2015 eine Werkschau mit dem Titel «On Visibility and Amplifications». «Wir haben etwas ganz Eigenes miteinander gefunden», schwärmt Isabelle Schad über die Zusammenarbeit mit Laurent Goldring. Schad geht von einem ganzheitlichen Verständnis des Körpers aus: Wichtige Einflüsse sind für sie die Praxis des Body-Mind Centering (BMC) sowie asiatische Techniken wie Aikido, Qigong und Shiatsu. Nun gibt es mittlerweile viele Choreografinnen, die sich auf BMC berufen – was man ihren Arbeiten aber nicht unbedingt ansieht. Isabelle Schad gelingt es dagegen in ihren Stücken, die Körpererfahrung mit einem strengen Formdenken zu vereinen. Auch dank Goldrings Schule des Sehens.
Aus dem Zusammenspiel der beiden Künstler entstand das Konzept des «Verstärkers». «Er sagte zu mir: Okay, du arbeitest mit Körpersystemen und Zellen, aber man sieht das nicht von außen. Da brauchen wir einen Verstärker», erzählt Schad. Verstärker – das können lange Stoffbahnen sein wie in «Der Bau» oder das zu große Kostüm in der Reihe «Unturtled», eine Extra-Hülle, die nichts versteckt, sondern etwas sichtbar macht. Das kann auch die Gruppe sein wie in «Collective Jumps», wo die Glieder der 16 Tänzer sich zu faszinierenden Mustern verketten. Der Einzelne wird absorbiert von einem kollektiven Körper, der sich in ständiger Wandlung befindet. Die Individuen sind eingebunden und fühlen sich den anderen verbunden. Isabelle Schad veranschaulicht in «Collective Jumps» ein spannendes Paradox: Wo die Besonderheit des einzelnen Performers im Kollektiv zu verschwinden scheint, tritt sie nur umso deutlicher hervor.

Sandra Luzina

Published 14 March 2016

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