Double Portrait - unfolded version @ Wiesenburg

A Wiesenburg cooperation // Wiesenburg-Halle // Werkhalle:
Double Portrait - unfolded version
Saturday 31st August & Sunday 1st September
7pm at Wiesenburg-Halle
Classical Sundays
Sunday 1st September
8.30pm at Werkhalle
special performance - programme to be announced

with Przemek Kaminski and Nir Vidan. Pic: I.Schad all rights reserved.

Double Portrait - unfolded version focuses on the multi-layered physical materialities of the piece, reducing all further elements at play (lights, stage, sound) to its essences, in order to sharpen the reading of the energetic movement pathways and their transformations.

The bodies of two dancers with accentuated lanky limbs perform Double Portrait, a dance performance almost closer to a live visual mobile or bodily installation. It is a duet that is transformed into a solo by a mere physical approach, playing with the prolongation of the dancer’s body into the other. Such a newly-created figure, marked with their stitched and simultaneously extended bodies, recalls Schiele’s portraits. (Maja Ležaić)

Credits: Konzept & Choreografie: Isabelle Schad | Co-Choreografie & Performance: Przemek Kaminski, Nir Vidan | Dramaturgische Begleitung: Saša Božic ́ | Sound: Damir Šimunovic ́ | Lichtdesign: Emma Juliard | Kostüme: Charlotte Pistorius und die Tänzer | Produktionsleitung: Heiko Schramm | Photo: Isabelle Schad | Produktion: Isabelle Schad | Koproduktion: HAU Hebbel am Ufer | defacto (Zagreb) | Gefördert durch: Senatsverwaltung für Kultur und Europa und Nationales Performance Netz (NPN) Koproduktionsförderung Tanz aus Mitteln der Beauftragten der Bundesregierung für Kultur und Medien aufgrund eines Beschlusses des Deutschen Bundestags | Unterstützt durch: Wiesen55 e.V.

I call my pieces of small formats Chamber Pieces. It concerns those pieces - in analogy to Ingmar Bergmans films and to chamber music - that work with only one or few performers who interact within a small space. Bergman himself created a couple of films under the notion of Chamber Pieces. His aim was, to re-discover the essence of theatre whilst he was imitating the interaction or juxtaposition of music instruments within a chamber orchestra.

Next to the musical analogies, it is also the reduction of space that defines the Chamber Pieces: The space around the body(ies) is worked as an amplifier of the visible (of the inner spaces), and the body-space relation is reduced to a minimum of surface. (Isabelle Schad)

Published 13 August 2019