Choreography : Tânia Carvalho
Weaving chaos or how the promise of Ithaca and Ulysses’ ever-renewed obstinacy can tell us something about the search for movement and the dancer’s quest. Providing it is made into a language of its own.
Interview with Tânia Carvalho
What was the starting point of your new creation?
Reading Odissey from Homero!
The recoil of Words one of your latests work investigates mime and expressionism cinema. What field have you now explored for this new work?
For Weaving chaos I used classical dancers as inspiration (concerning movement) for as Ulisses is trying to reach his home and gets more and more tired as we read the book and at the same time the desire of arriving gets stronger I compare it with a dancer that repeats movements several times to get perfection, the dancer gets old and tired and keeps trying. The movements get technically weak, but, in my point of view, the expression of the movement gets more intense. Of course this is not the only inspiration, I also got inspiration a lot on the sea movements, the tempests, the characters and situations from the book.
Do you agree with qualifying your work as an expressionism writing?
I do. I rather do my work as a distortion on reality, provoking with it emotional experiences and moods, instead of giving a clear and defined idea of it. But I would not close my work into that only.
What is the rank of the music in your plays?
I usually have composers to do the music for my piece, so, I would say contemporary music mainly electronic. But, it depends a lot on the work. I already used classical piano music, and for example to Recoil of Words the music was contemporary music for bagpipe and audio playback.
In 1997, you joined the Bomba Suicida collective. What did it want to defend at that time?
I'm the only one that stayed since the beginning till now, but the name was given by Filipe Viegas, and he used it to say that artists from Bomba should be terrorists and invade places with art, but, if it would explode it would explode with candies! Bomba Suicida appeared because we needed support for the works we wanted to do, mainly in production matters, so we got together to help each other on that. We were working in Bomba mainly for free, for instance if one of us was doing a piece, other could be interpreter and other would be the producer, and them we would change « jobs » depending on what was needed. Few years after we rented a space and we asked for structure support. When Bomba became as it is now ( with me, Luis Guerra and Marlene Monteiro Freitas) we decided to leave the space and decided to be a production house for the three of us.
Source : La Biennale de Lyon
Chorégraphe : Tânia Carvalho
Danseurs : Anton Skrzypiciel, Allan Falieri, André Santos, Bruno Senune, Catarina Felix, Cláudio Vieira, Gonçalo Ferreira de Almeida, Leonor Hipólito, Luiz Antunes, Luís Guerra, Maria João Rodrigues et Petra Van Gompel — Assistant mise en scène : Pietro Romani — Texte : Bruno Duarte — Musique : Ulrich Estreich — Scénographie : Jorge Santos — Costumes : Alexander Protic — Lumières : Zeca Iglésias — Image promotionnelle : Jorge Santos — Production, diffusion : Sofia Matos
Réalisation video : Fabien Plasson - Septembre 2014 - Biennale de la danse
Tânia Carvalho was born in 1976 in Viana do Castelo (PT). She develops her work since 1997. Her work was presented in Portugal, Spain, France, United Kingdom, Austria, Germany, Holland, Brasil, Belgium, Bosnia & Herzegovina, Canada, and Cyprus.
As a choreographer created: "Mulher à beira de um contrabaixo2 (1997), "História de um Envenenamento" (1998), "Estou farta de ser achatada" (1999), "Inicialmente Previsto" (1999), "Drük" (2000), "A corte" (2000), "Ó tempo volta para trás" (2001), "New Tan" (2001), "Um privilégio característico" (2002), "At the Opposite Direction" (2003), "The Best of Them All" (2003) "The Secrets of my Nottingham Sleep" (2004), "If I could stay there forever" (2005), "A silent explosion is not quite disturbing" (2005), "I walk, you sing" (2006), "Orquéstica" (2006), "A Slowness that looks like a velocity (2007), #1 Ricardo – Different movements, for different people (2007), Barulhada (2007), #2Ramiro, #3Bruna – Different movements, for different people" (2008), "But from me I can't escape, have patience!" (2008), "Danza Ricercata" (2008), "#4Hugo, #5Nini, #6Gonçalo – Different movements, for different people" (2009) and "Der Mann ist Verrückt" (2009).
Has also participated in the meeting “Pointe to Point”, project of Third Asia-Europe Dance Forum, in Tokyo, (JP); in the dance residency at Arnolfini Art Center in collaboration with Live Art Forum South West, Bristol (UK) and in the dance residency at Festival NOW, Nottingham (UK). Made the choreography for the actors of Teatro Nacional D. Maria II (PT) in a theatre piece of Álvaro Correia.
As a music performer presents herself solo with piano/voice in Madmud, with voice in Trash Nynph and with piano/voice within the musical group Moliquentos, together with Bruna Carvalho and Zeca Iglésias. Has also collaborated with Expander with piano/voice in several musical tracks. With Diogo Alvim co-composed the soundtrack of the piece "A silent explosion is not quite disturbing". Composed the soundtrack for "If I could stay there forever" and "Hurra! Arre! Apre! Irra! Ruh! Pum! (Tribute to Cristina de Pina)" by Luís Guerra de Laocoi. Also created a voice composition for a piece of the director Simon Vincenzi. One of her songs was used in a movie of Manuel Guerra.
As a student started classical dance with five years old, and contemporary dance with fourteen years old. In 1991 attended the first year of Superior Dance School (Lisbon, Portugal), after attending the first year of the Design and Visual Arts School of Caldas da Rainha (Portugal). Attended the two years course of Contemporary Dance for interpreters in Forum Dança (Lisbon). In 2005 attended the Choreography Course in the creativity and artistic program supported by Calouste Gulbenkian Foundation (Lisbon, Portugal). Since 2008, has private classes of piano interpretation with João Aleixo and musical theory with Diogo Alvim. As a dancer worked with Francisco Camacho, Carlota Lagido, David Miguel, Filipe Viegas, Clara Andermatt and Luís Guerra de Laocoi. As an actress worked in theater with Projecto Teatral and João Garcia Miguel; in cinema with Elizabete Magalhães; and in video-art with Ivo Serra, Paulo Mendes and Vasco Diogo. She's co-founder of the arts association Bomba Suicida, based in Lisbon (PT).
The American origins of modern dance: [1930-1950] from the expressive to the abstract
[1970-2018] Neoclassical developments: They spread worldwide, as well as having multiple repertoires and dialogues with contemporary dance.
In the 1970s, artists’ drive towards a new classic had been ongoing for more than a half century and several generations had already formed since the Russian Ballets. As the years went by, everyone defended or defends classical dance as innovative, unique, connected to the other arts and the preoccupations of its time.
Why do I dance ?
Meeting with literature
Collaboration between a choreographer and a writer can lead to the emergence of a large number of combinations. If sometimes the choreographer creates his dance around the work of an author, the writer can also choose dance as the subject of his text.
The Dance Biennale
Les Rencontres chorégraphiques internationales de Seine-Saint-Denis
Body and conflicts
A look on the bonds which appear to emerge between the dancing body and the world considered as a living organism.
The national choreographic centres
Roots of Diversity in Contemporary Dance
Do you mean Folklores?
Presentation of how choreographers are revisiting Folklore in contemporary creations.
Focus on the variety of bodies offered by contemporary dance and how to show these bodies: from complete nudity to the body completely hidden or covered.
Stage theater and studio are not the only places of work or performance of a choreographic piece. Sometimes dancers and choreographers dance outside.