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

Premiere @ Sophiensäle

JULY 22-26 | 20.00
15/10 €

JULY 22 23 | 8.00 PM | FUR + ROTATIONS
JULY 26 | 8.00 PM | FUR + TURNING SOLO 2

The works FUR, Rotations and Turning Solo 2 are part of an ongoing series by choreographer Isabelle Schad, in which she moulds rhythms and energies into choreographed experiences. Together with the performers, she creates three very personal portraits. The works invite to dive into a process of timelessness, of closeness and contemplation.

TURNING SOLO 2 is a continuation of the work Turning Solo. NAÏMA FERRÉ’S whirling practice has been brought into dialogue with Schad’s research around axial and weight shift, around inner movement material and its extension into the world, around energetic fields that characterise oneself and others. In 2020, dancer and choreographer JASMIN İHRAÇ reworks the score and her interpretation made it become its own universe: another person, another portrait. Turning Solo 2 now brings both portraits together for the first time to form a double that can be experienced simultaneously.

FUR is an encounter with the Japanese dancer AYA TORAIWA and her hair, which reaches her knees. The hair covers and clothes, becomes a shelter and a prosthesis: a fur-like outer layer and extension of the body, the energies, the self. The fragile material around the body reveals what seems hidden and acts as a transition between the inner and outer worlds.

In ROTATIONS, the movements of the dancer CLAUDIA TOMASI rotate and accumulate into an energetic flow, creating the illusion that her body is moving by itself. Between precision and loss of control, the choreography creates an astonishing energy.

pic: D.Hartwig, all rights reserved.

See online : Sophiensäle

Published 2 July

Double Bill evening with Pieces and Elements and FUR @ Globe Theater

Nach dem erfolgreichen Gastspiel mit Turning Solo im September 2020 kehrt Isabelle Schad jetzt mit ihrer wegweisenden Gruppen-Choreografie Pieces and Elements und mit dem choreografischen Portrait FUR auf die Open Air Bühne des Globe Theaters zurück. In Pieces and Elements verhandelt eine Gruppe von Performer*innen ihren kollektiven Körper in Bewegung, der nur als gesamter funktionieren kann, analog zu zyklischen Vorgängen in der Natur. Die Neuinterpretation wird eigens für das Globe Theater adaptiert und in dieser Version zum ersten Mal gezeigt werden.

FUR ist eine Begegnung mit der japanischen Tänzerin Aya Toraiwa, befasst sich mit ihren spezifischen Körpermerkmalen, ihren Rhythmen, Konturen, Farben, Energien und insbesondere mit ihrem knielangen Haar. Ihr Haar bedeckt und bekleidet, wird zum Schutzraum und zur Prothese: eine fellähnliche äußere Schicht und Verlängerung des Körpers, der Energien, des Selbst.

Eine Produktion von Isabelle Schad, Unterstützt durch DIEHL+RITTER/TANZPAKT RECONNECT, gefördert von der Beauftragten der Bundesregierung für Kultur und Medien im Rahmen der Initiative NEUSTART KULTUR. Hilfsprogramm Tanz“ Dank an: Wiesen55 e.V.
pics: D.Hartwig. all rights reserved.

PDF - 467.1 kb
PDF - 145 kb

Rezension: https://tanzschreiber.de/der-weg-nach-draussen/

See online : Globe Theater

Published 13 June

Workshop / for Theater o.N.

On 20.+21.5. I have had the pleasure to give a 2 days workshop to the team of Theater o.N. between Wiesenburg and Humboldthain.
We have trained together moving the inside with the outside and vice versa. We have started to learn some principles of movement coming from Aikido. We have started to hold a sword (Bokken) and a stick (Jo) in our hands.
We have moved with.a partner and within a group...again...after such a long time...

Published 13 June

Some thoughts on the creation of Harvest

find the full article here:

Ich finde es so spannend zu bemerken, wie ich diese Arbeit, die auch ein ganz junges Publikum erreichen soll eigentlich wie immer angehe: die Aspekte von energetisch kraftvoller Bewegung, die aus dem täglichen gemeinsamen Training heraus wachsen, die visuellen und auditiven Aspekte, das Verhältnis von Selbst / Welt – bleiben im Fokus. Und zugleich arbeite ich mit dem Bewusstsein, daß das Stück auch für die ganz Kleinen funktionieren soll. Also: daß die gelenkte Aufmerksamkeit, die Kommunikation, Dauer und Rhythmus einfach stimmig sein müssen. Denn es gibt kein kritischeres Publikum diesbezüglich als Kinder, gerade wenn sie noch ganz jung sind. Es ist ja eigentlich das schönste Geschenk, das man sich machen kann, wenn man nach den sinnlichen, haptischen Erfahrungen sucht, die abseits von Verstand und Konzept wahrgenommen werden und zugleich kleine Wunder im eigenen Erfahren auslösen können.
Dauer und Aufmerksamkeit werden für das junge Publikum nochmals anders und neu beleuchtet. Aber im Grunde genommen, ist ein Stück wirklich toll, wenn es für alle funktioniert, unabhängig vom Alter, Hintergrundwissen, von Erfahrung oder Herkunft. Das war eigentlich schon immer mein Anliegen: mit meiner Arbeit Grenzen jeglicher Art überwinden zu können. In unserer heutigen Zeit, in Zeiten der Pandemie, wo die Grenzen immer enger werden, empfinde ich diesen Aspekt als relevanter denn je…
Isabelle Schad

Published 2 May

Research @ Tanzhalle Wiesenburg

Currently Laurent Goldring and I are working on a new piece in Tanzhalle Wiesenburg. The research deals with the hands and the face.
We are working on images which will be seen in the frame of an exhibition lateron and on a performance, both being presented, soon, most probably in September21 in Berlin.
image: L.Goldring. all rights reserved.

Published 23 March

Knotting / Film / online

I am happy to announce the film-premiere of Knotting. The work was filmed a few days before the planned premiere in November 2020 and will now be available from March 12-21, 2021 on the Sophiensaele website (https://sophiensaele.com/) and on Tanzforum Berlin (https://www.tanzforumberlin.de)

The film for the performance Knotting documents the research for the piece in excerpts and was shot as an experiment five days before the planned premiere. The choreographic portrait is inspired by the fluid, elastic, expansive movements of the dancer Francesca d’Ath and deals with the physical understanding of the knot. A deep blue surface creates references in the set between heaven and earth, between reality and dream. A lucid space is created that makes parts of the body appear like cut-outs, referencing, among other things, the sensual and soft forms of painter Henri Matisse’s works. The choreography is a powerful, ongoing play with repetition and change – with movement that never begins, never ends.
pic: I.Schad. all rights reserved.

See online : Sophiensaele

Published 12 March