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

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