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.
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.
You’ve learned dance in the 90’s in Lisboa. How would you describe the portuguese contemporary stage at this period?
Very experimental. Each person trying to find an artistic personality (both choreographers and dancers) and at the same time a big will of intellectualization of dance. I think it was a time when the interpreter got more creative than before. I had the feeling that choreographers would choose an interpreter more because of the ideas they could bring into the studio then because they would be capable of interprete the choreographers movements.
You perform since a long time. When and how did you turned on a choreographer?
It was my will of choreographing that allow me to be one. I never saw myself as a dancer, only.
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.
Could you talk about your very first piece you made there?
Well the first piece I did with support and with longer duration was called Initially predicted and what I did was as if the piece was starting over and over again, a piece made of sketches. I wanted audience to change the mood constantly and not follow a logic line thru the piece.
What about the dance and the choregraphers you were looking at as a young dancer?
I didn't have many choices. I saw what was coming in Lisbon. I remember, while a student, I used to like a lot Mathilde Monnier because the dancers were so precise. I like a lot Las distinguidas from La Ribot. But I don't think I get specific references from any of those. But my stronger references comes from paintings ( I did first year of fine arts school), Brueghel, Bosch, Cranach, El Bosco, James McNeill Whistler... Also movies like from Murnau and Fritz Lang that I think have a lot of « dance » in it.
Piece for 12 dancers — 2014 — Run time 1h
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
Tânia Carvalho sera en résidence de création aux Subsistances à Lyon, du lun 1 au mer 17 sept.
Production Les Subsistances - Lyon, La Biennale de la danse - En collaboration avec Studio - Théâtre de Vitry
Production Bomba Suicida – Coproduction Les Subsistances (Lyon), Les Spectacles Vivants - Centre Pompidou Théâtre de la Ville (Paris), Maria Matos Teatro Municipal (Lisbonne), Centro Cultural Vila Flor (Guimarães), Teatro Virgínia (Torres Novas), Teatro Viriato (Viseu) – Avec le soutien de Rede Cinco Sentidos - Maria Matos Teatro Municipal, Centro Cultural Vila Flor, Teatro Virgínia, Teatro Viriato, Centro de Artes de Ovar e Teatro Académico Gil Vicente, Alkantara (Portugal)
Bomba Suicida est une structure soutenue par le Gouvernement du Portugal - Secrétaire d'état pour la Culture et Direction générale des arts (Portugal).
Photo © Margarida Dias