Interview
Tânia Carvalho
September
2022
Fri
30
Between the evocation of the 16th century’s blasons by François Chaignaud and the game of movements - sometimes hidden, sometimes revealed - by Tânia Carvalho: on October 1st and 2nd, for the first time, the Portuguese company Dançando com a Diferença takes the stage at Rivoli. We spoke with the Portuguese choreographer, Tânia Carvalho, about Doesdicon, one of the two pieces part of the programme.
As the title of the piece is an anagram of the word "escondido" [hidden], what is hidden in your piece? On the other hand, does it reveal anything?
If I would say it, I would spoil what it hides (laughs). But really, it is nothing in particular. Everyone sees things the way they see them. The piece is quite enigmatic because, for me, the process was it a bit as well... I looked for the hidden things in the performers. The inspiration came from them, and I thought they had a lot of hidden things to show.
How’s it been working with the company? What challenges and opportunities have you been discovering?
This piece is from 2016. It was an incredible process, but at the same time it was just as other processes: each one has its particularities; each company has its singularities. I remember that it was very motivating, very inspiring... They are performers who love to dance. I think the director, Henrique [Amoedo], make the right choice of people for the company because they really like to dance. If you propose or say what you want, they are ready to do it right away and give you much more than what you’ve asked for. But the process was the same as other processes. I create the movements, the interpreters do it. There was nothing particular about this process.
The dramaturgy of the piece was built as you discovered the performers, or did you already have a structure prepared from the start?
First, I went to meet the company. A week before [we started the creation], I went to a workshop with them, saw them taking classes and having other rehearsals. There are quite a few in the company... I chose the cast for the piece and only later I came back. By then, I already had some ideas. I tried out the ideas I had, I came home and had even more ideas. Normally, I prepare the work in advance and bring it made. But there are many things in this piece that they gave me. I give a structure and say what I want to do, and then they have freedom within that structure to do some things. But I prepare it initially, yes.
So, was the relationship with the cast very close from the beginning?
Yes, this is something I always do. Normally, I need to get to know people first or else I chose them. Only then I assemble the piece. Even if it's watching a video with people dancing or taking a class. I always need to see people first so that I can prepare the piece afterwards. To feel the energies of the performers and being able to prepare specific things for each individual and group things. Figure out how it is all going to work.
As the title of the piece is an anagram of the word "escondido" [hidden], what is hidden in your piece? On the other hand, does it reveal anything?
If I would say it, I would spoil what it hides (laughs). But really, it is nothing in particular. Everyone sees things the way they see them. The piece is quite enigmatic because, for me, the process was it a bit as well... I looked for the hidden things in the performers. The inspiration came from them, and I thought they had a lot of hidden things to show.
How’s it been working with the company? What challenges and opportunities have you been discovering?
This piece is from 2016. It was an incredible process, but at the same time it was just as other processes: each one has its particularities; each company has its singularities. I remember that it was very motivating, very inspiring... They are performers who love to dance. I think the director, Henrique [Amoedo], make the right choice of people for the company because they really like to dance. If you propose or say what you want, they are ready to do it right away and give you much more than what you’ve asked for. But the process was the same as other processes. I create the movements, the interpreters do it. There was nothing particular about this process.
The dramaturgy of the piece was built as you discovered the performers, or did you already have a structure prepared from the start?
First, I went to meet the company. A week before [we started the creation], I went to a workshop with them, saw them taking classes and having other rehearsals. There are quite a few in the company... I chose the cast for the piece and only later I came back. By then, I already had some ideas. I tried out the ideas I had, I came home and had even more ideas. Normally, I prepare the work in advance and bring it made. But there are many things in this piece that they gave me. I give a structure and say what I want to do, and then they have freedom within that structure to do some things. But I prepare it initially, yes.
So, was the relationship with the cast very close from the beginning?
Yes, this is something I always do. Normally, I need to get to know people first or else I chose them. Only then I assemble the piece. Even if it's watching a video with people dancing or taking a class. I always need to see people first so that I can prepare the piece afterwards. To feel the energies of the performers and being able to prepare specific things for each individual and group things. Figure out how it is all going to work.
© José Caldeira
