Companhia Nacional de Bailado

Olhos Caídos + A tecedura do caos + S
Coreografia de Tânia Carvalho

September

21 Fri 21.00h
22 Sat 19.00h
23 Sun 17.00h


RIVOLI Grand Auditorium

7.50€ • >6 

tickets

OLHOS CAÍDOS
Peça para bailarino e sombra

Choreography Tânia Carvalho
Music Diogo Alvim
Light Design Anatol Waschke
Reproduction Luís Guerra
Performed by CNB dancers


S

Choreography and Customes Tânia Carvalho
Screen Rui Vasconcelos
Light Design Mafalda Oliveira e Tânia Carvalho
Musical Interpretation Orquestra Sinfónica Portuguesa
Musical Direction Nuno Coelho
Performed by CNB dancers


A TECEDURA DO CAOS

Coreography and Direction Tânia Carvalho
Music Ulrich Estreich
Custome Aleksandar Protic
Light Design Zeca Iglésias
Light Scenography Jorge Santos
Reproduction Marta Cerqueira
Performed by CNB dancers

Aprox. duration 2h40 with 2 breaks  

em paralelo

Over the past twenty years, choreographer Tânia Carvalho has been building one of the most fascinating bodies of work in Portuguese contemporary dance. She created a puzzling, yet consistent, universe that naturally convenes and converges dance, musical composition, drawing and all artistic practices capable of escaping the realm of reason and letting the body express its own language and complexity. Her works wander through the shadows, expressionism, intuition and the fragment, putting together a unique cosmogony.
For the first time, the artist works alongside dancers from the Companhia Nacional de Bailado, whose technique and versatility range from pieces from the classic repertoire to creations by present-day authors, and who now tackle this constellation of works.
OLHOS CAÍDOS
Piece for dancer and shadow

In this short piece, the two performing dancers carry out peculiarly precise choreographic sequences, mostly using their arms. Quick, sharp gestures combine with slow but continuous movements, providing the piece with a musical rhythm.


A TECEDURA DO CAOS

Homer’s “Odyssey” is the driving force behind this piece, which summons a group of dancers to interpret the stubbornness, the pain and the will of the epic hero returning home. Between the show of individuality of a character and his presence or dissolution in a collective, thus forming a corps de ballet, the tireless search for movement remains, and they fall in order to then rise again.


S

In “S” there’s a mix of symbols. A contrast of shapes. A blend of styles. This new creation is based on the history and development of the pointe shoe. It is a (shy) tribute to Marie Taglioni (1804-1884) the first ballerina to ever use it in “La Sylphide” [The Sylph] (1832). Essential in the life of a classic dancer, the pointe shoe appeared in the 19th century, and it has been transformed, adjusted and perfected over time as far as its structure and the materials used are concerned.

Post-performance talk with Tiago Bartolomeu Costa - © Bruno Simão

© Bruno Simão

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