OHNE WORTE - Premiere

Fr April 11 > 20h00

Sa April 12 > 21h30

Sun April 13 > 20h00

Hau 3 Tempelhofer Ufer 10, 10963 Berlin,
T: +49 (0)30 25 90 04 27 /

Praticable is a project initiated by Alice Chauchat, Frédéric de Carlo, Frédéric Gies, Isabelle Schad and Odile Seitz. It is based on the sharing of physical practices and aims to place research, learning processes, creation, production and distribution in the same context. Two pieces by artists from the collective are presented at a time; one in its entirety and one as an excerpt.

Isabelle Schad
OHNE WORTE (Praticable)

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: The pleasure of the text)

Ohne Worte (Praticable) investigates the comical act through a physical approach, that means through body practice, movement and dance. It adresses the comical body as a body of excess, a body that slips out of control because of the misbalance of its functions. This "body without words" is theatricalised, flirting with expressionism and the clowning tradition, displaying a virtuosity that allows the performer’s slip-ups to be looked at, laughed with. Referring to traditional theatrical figures, such as the ones from silent movies, pantomimes, fairy tales, ghostly appereances, Ohne Worte (Praticable) displays a multiplicity of bodies within one, proposing a fluid, manifold identity, un-covering other, invisible bodies.
It also questions the theatre machinery as designed to fulfill the spectators’ request to be entertained and to be overwhelmed by the enthralling failure of the virtuoso. While exploring, producing and presenting its own tools, Ohne Worte (Praticable) is meditating on the political vulnerability of the theatre, one which always has to entertain.

concept, choreography, dance: Isabelle Schad

lightdesign: Bruno Pocheron

dramaturgic advice: Sasa Bozic

artistic collaboration: Alice Chauchat, Hanna Hedman, Bruno Pocheron

Good Work Productions/Isabelle Schad in co-production with Espace Pier Paolo Pasolini Valenciennes
Supported by: Hauptstadtkulturfonds
With special support of: HAU 1-3 Berlin, PACT-Zollverein Essen, MimeCentrum Berlin, Tanzfabrik Berlin

as a first part
Frédéric De Carlo and Odile Seitz
will present an extract of their current project
The Beloved (Praticable)

The project offers us to go back to childhood, to give ourselves to the gravity received by the ground: this period of learning when the little beloved established the bases of his relationships with the environment and the other human beings.

see also:

See online : hebbel-am-ufer.de

Published 4 April 2008

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