TÜDDELDÜDDEL-LÜD

EIN COMMUNITY-PROJEKT DER TANZINITIATIVE HAMBURG

ISABELLE SCHAD, BRUNO POCHERON / GOOD WORK PRODUCTIONS


05. Februar, 20.00 Uhr Uraufführung - P1 Kampnagel Hamburg

weitere Vorstellungen: 06. – 08. Februar, 20:00 Uhr

Idee, Leitung: Barbara Schmidt-Rohr, Irmela Kästner

Konzept, Realisation: Isabelle Schad, Bruno Pocheron;

Assistenz: Hana Tefrati

Mit und von: Anneli Pleus, Andrea Sander, Andreas Jordan, Anna Katharina Kriete, Annette Bendfeldt, Annette Johannesson, Antje Hoppe, Birgit Engels, Branka Bilogrevic, Caroline Bréand, Caroline Dzedzig, Corinna Sommerhäuser, Detlev Kuhnke, Dietrich Garbrecht, Eleonore Ahrens, Ellen Binek, Eva Anna Kistner, Francesco Mincione Scharrnbeck, Frank Jungblut, Gabriele Kruk, Guadalupe Ramírez Sánchez, Günther Wolfram, Hannah Grütter, Hans Georg Dölfes, Helga Damm, Hertha Dahl, Ilona Hase, Isabelle Schad, John Maria Schopp, Katharina Schütz, Lena Blank, Liane Kampeter, Lisa Herrmann, Luer Lüdecke, Manfred Hüttmann, Maren von Westernhagen, Marlene Stier, Martin Kieras, Michael Kaphengst, Michael Weisheit, Rafael Maurer, Sam Schramm, Stefanie Hanke, Susan Schiek, Tiina Reeder, Uwe Kummerfeldt, Zuzanna Spyczak von Brzezinska

tüddeldüddel-lüd hat eine bunt gemischte Gruppe Hamburger eingeladen, auf die Geräusche ihrer Stadt zu antworten und schickt sie auf die Suche nach der Bewegung, Poesie und Absurdität des urbanen täglichen Lebens. Es beginnt in den Straßen von Hamburg mit Tonaufnahmen subjektiver Klanglandschaften. Als Soundtrack in den Bühnenraum übertragen, ist dieser Klang der Stadt szenischen und choreographischen Elementen gegenübergestellt, die in einem neuntägigen Arbeitsprozess gemeinsam entwickelt wurden. Wie unter ein Vergrößerungsglas gelegt, reflektiert das Stück die Theatralität einer Stadt, gespiegelt in deren Repräsentationsräumen und in den Orten des Alltags.
Der Kreationsprozess knüpft an eine extrem physische Auseinandersetzung an. Isabelle Schad und Bruno Pocheron greifen hier auf unterschiedliche Bewegungs- und Körperwahrnehmungspraktiken, wie beispielsweise die Methode „Body-Mind Centering“ zurück. Es sind Praktiken, die zu einem kreativen Umgang mit Bewegung und Körperlichkeit anregen und Zugang zur eigenen Selbstwahrnehmung und somit zur Wahrnehmung des anderen öffnen und der Kommunikation nach außen wie auch nach innen den Weg ebnen.

Die Intention des Projektes ist ein „demokratischer Körper“. In einem Regelwerk komplexer Spielstrukturen muss ein jeder fortwährend Entscheidungen treffen, bewahrt sich in gewissem Sinne Autonomie und übernimmt gleichzeitig die Verantwortung für den „Gesamtkörper“ der Choreographie.

„Lernen zuzuhören, aufeinander zu hören“ ist für Schad und Pocheron wesentlich. Letztlich um diesen Klang der Stadt im Körper widerzuspiegeln.

See online : tanzinitiative-hamburg

Published 10 February 2009

23-24 October 2021, DER BAU- GRUPPE/KIDS

Tickets still available on the website of Theater o.N.

Published 12 October

14.10.2021 PERSONNE IN ZAGREB

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:
https://en.naimaunlimited.com/library/a-room-full-of-particles-a-living-archive-for-isabelle-schad/

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

collaborations