PRATICABLE
Alice Chauchat, Frédéric de Carlo, Frédéric Gies, Isabelle Schad, Odile Seitz
| photo: Bruno Pocheron | ||||
| le site en français | ||||
PRESENTATION
PERFORMANCES:
- album
- the beloved
- the breast piece
- dance
- fortsetzung folgt / ohne worte
- ohne worte
- sensation & imagination: a study
- the stage and myself
CALENDAR
PRESS
| OHNE WORTE (praticable) Isabelle Schad "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) |
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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. While insisting on repetitions, movement loops and delays of meaning, the performance focuses on physicality as a way to avoid emotional and strategical relations to representation, to take leave of existing images or pre-conceived representations of comical bodies. This anatomic approach allows the performer to escape recognizable shapes or movement patterns, searching for places where the clownesque and humor appear, where surprise is triggered. Ohne Worte (Praticable) unfolds from physicality to sensation, condition and emotion. It doesn't imply any psychological motivation, but produces emotional reactions, allowing the viewer for a bodily, active, imaginative response, rather than delivering meaningful imagery. |
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| In a formal sense the piece is concerned with the extreme accumulation of movement, questioning contemporary entertainment as the spectacle of endless production.The exposure of the movement material and its development underlines which tools a performer has to own in order to entertain. 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. Ohne Worte (Praticable) proposes a specific view on the texture of a theatre act: the audience is witnessing the subtle theatrical transformation of the space and of the performer. The space is starting to resound towards the spectator and the performer. The performer is dealing with her acoustic, resonant body in a very similar way, creating enigmatic, inner landscapes. The musical score of the piece in relation with the dancer's organic sounds produce a siren-call that challenges the spectator to respond without allowing her/himself to be possessed. |
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concept and choreography: isabelle schad
lights: bruno pocheron sound: bruno pocheron, isabelle schad, hanna hedman dramaturgical advice: sasa bozic artistic assistance: alice chauchat, hanna hedman, bruno pocheron music: alfredo catalani, la wally. clothes: jaap exchanges with / thanx to: laurent goldring, frederic gies, sybille müller production management: susanne beyer production: good work productions / isabelle schad supported by: espace pier paolo pasolini valenciennes, hau 1-3 berlin, hauptstadtkulturfonds berlin, mimecentrum berlin, pact-zollverein essen, tanzfabrik berlin. |
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