Isabelle Schad

OHNE WORTE (Praticable)

photo bruno pocheron

concept and choreography: isabelle schad

lights: bruno pocheron

sound: bruno pocheron, isabelle schad, hanna hedman

artistic assistance: hanna hedman, alice chauchat, bruno pocheron

clothes: jaap

exchanges with / thanx to: laurent goldring, frederic gies, sybille müller

production: cie isabelle schad in co-production with hau berlin and espace pier paolo pasolini valenciennes

supported by: hauptstadtkulturfonds berlin
thanks to: mimecentrum berlin, pact-zollverein essen, tanzfabrik berlin

Tue 20th of november at 8.30 p.m
Espace Pier Paolo Pasolini, Valenciennes (F)

The pleasure of the text is the moment, when my body is following its own ideas - as my body doesn’t have the same ideas than myself.(...) The pleasure of the text wouldn’t be reducible to its grammatical functions, as the pleasure of the body isn’t reducible to its physiological needs. (Roland Barthes)

Ohne Worte (Praticable) investigates the comical body through a physical approach, that means through body practice, movement and dance. The performance addresses the comical body as a body of excess, a body that slips out of control through the misbalance of its functions. This “body without words” is expressive, flirting with expressionism and the clowning tradition, displaying a virtuosity that allows the body’s failure to be looked at, laughed with.
The focus on physicality is important in that it leaves behind emotional and strategical relations to representation; whereas one might introduce comical bodies through the use of existing images or pre-conceived representations, I will stress the function of the body as an initial motor. The described approach thus goes from the physicality to the sensation, state and emotion and doesn’t imply any psychological motivation, but produces emotional reactions. An anatomic approach allows me to escape the ‘recognizable’ shapes of my own body and movements, looking for places where the clownesque and humorous can appear, where surprise is triggered, where different ‘characters’ can be produced and transform.
Ohne Worte (Praticable) reveals a multiplicity of bodies within one, including the appearance of unexpected or under-represented bodies and a fluid identity through the various faces one can assume, un-covering ‘other’, invisible bodies.

Der Pantomime sagt: ‘Ich verspreche, dass ich schweige.’ Der Tänzer verschweigt, dass er spricht. Wie also spricht sein Körper, und dies nicht im metaphorischen, sondern tatsächlich phonetisch-physikalischen Sinne? (Philipp Gehmacher in: incubator, Passagen Verlag, 2006)

as a first part Frédéric Gies will present an extract of his piece
DANCE (Praticable)

Concept & choreography : Frédéric Gies

based on a proposition of Alice Chauchat

Artistic collaboration : Alice Chauchat#

Music : Madonna

Production : Frédéric Gies, with amical support from Tanzfabrik / Berlin

Praticable by Alice Chauchat, Fréderic de Carlo, Fréderic Gies, Isabelle Schad and Odile Seitz. Praticable proposes itself as a horizontal work structure, which brings into relation research, creation, transmission and production structure. This structure is the basis for the creation of many performances that will be signed by one or more participants in the project. These performances are grounded, in one way or another, in the exploration of body practices to approach representation.Concretely, the form of Praticable is periods of common research of /on physical practices which will be the soil for the various creations. The creation periods will be part of the research periods. Thus, each specific project implies the involvement of all participants in the practice, the research and the elaboration of the practice from which the piece will ensue.

See online : Lignes de Corps

Published 19 November 2007

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