A Tecedura do Caos

Sobre

A choreography for 12 dancers by Tânia Carvalho

The body of Homer’s Odyssey, viewed as the monumental object that has come to represent some of the fundamental laws of epic poetry, is that of an unending path of return that leads to a reunion, and eventually to a distinctive sort of deliverance for its hero. Its written form addresses the fusion of an unflinching belief and the obstacles that it is faced with, of a confident hope and the pain of anguished yearning for the final unity. Its moving form, in contrast, wants to translate this intimacy of willfulness and constant striving into an abyss that is forced to become a living chaos.

Bruno Duarte

Imprensa

…la chorégraphe portugaise Tânia Carvalho, qui a fait du voyage d’Ulysse un tableau vivant, picturalement chargé de références, joliment agencées et emportées dans les flots d’une danse parfaitement maîtrisés.

Marie-Christine Vernay, Libération

C’est exactement ce que je recherche, à savoir des formes indéfinissables où chacun va trouver ce qui correspond à son parcours, son bagage. Ensuite je fais faire aux danseurs des choses dans un esprit totalement opposé. Ça crée par exemple une opposition entre une ambiance romantique et douce – j’utilise en effet des mouvements du ballet romantique – et des actions violentes, furieuses.

Tânia Carvalho a Danser Canal Historique

Douze marins en dérive, dans un chaos bien tissé. Théâtre de danse, mascarade grotesque, mystère médiéval, danse macabre, flamboyance baroque, la nouvelle pièce de Tânia Carvalho, tout juste créée à la Biennale de la Danse de Lyon, fait escale à Paris. À explorer sans bouée de sauvetage !

Thomas Hahn, artistic rezo

La danse à ce degré de plénitude et de beauté tient du miracle. Ce spectacle hantera pour longtemps les mémoires et les imaginaires.

Trina Mounier, Les Trois Coups

Avec Weaving chaos, Tânia Carvalho s’impose (s’il en est encore besoin) comme l’une des chorégraphes les plus libres et les plus inventives du moment.

Renan Benyamina, Hétéroclite

O que parece ser inédito no tra­balho de Tânia Car­valho é a aparente noção de sim­pli­ci­dade com que, ao invés de criar uma sobreposição de ima­gens e pro­lon­gar essa pais­agem, a coreó­grafa a vai lim­i­tando a um con­junto de frases que se vão repetindo e for­t­ale­cendo.

Tiago Bartolomeu Costa, Teatro Público

“Embora haja sempre partes nas minhas peças que parecem uma confusão tremenda”, admite, “está tudo estruturado.” O caos é, por isso, tecido ao milímetro.

Gonçalo Frota, Público

Tânia Carvalho possui uma capacidade única de transformar a simplicidade e naturalidade das coisas em algo complexo e abstrato. O seu poder de manipular as imagens é especialmente evidente neste espetáculo, quando através de momentos de congelamento de imagem, cria autênticas fotografias carregadas de expressão dramática e de história, apesar do movimento nulo .

Beatriz Vasconcelos, Espalha Factos

Figuras aisladas hieráticas bajo recortes cenitales, como la del viajero que retorna, mientras un coro ejecuta movimientos ceremoniales. Genuflexiones, juegos gestuales de brazos y tronco, de manera casi reverencial. Agitaciones. Clímax sonoros con un estruendo ensordecedor, como si el caos se pudiese oír y palpar en el aire.

Afonso Becerra de Becerreá, Artezblai

…pelas metáforas entre a viagem das bailarinas em palco e o curso de Ulisses pelo mar, comparações com passos de ballet romântico a decorar a tela. Isso e outras linguagem corporais que fazem de “A Tecedura do Caos” uma analogia rocambolesca da obra de Homero.

Miguel Branco, i

A marca expressionista de Tânia Carvalho permite ainda ir mais além e abandonar a ausência de caracterização psicológica das personagens da Odisseia para adoptar a expressão de medo, pânico e cansaço que dominam as faces dos intérpretes de A Tecedura do Caos. Sendo uma coreografia marcadamente de grupo, que se distancia da estrutura clássica pela ausência de destaque das personagens, não anula a expressividade da qualidade interpretativa e a individualidade de cada interveniente.

Luis Sá Nogueira, RDB

Este Ulisses, metamorfoseado em vários intérpretes, serve de alegoria à sua astúcia lendária e à dissolução da personagem num colectivo: as armadilhas do orgulho, a cedência aos labirintos do desejo, resiliência e determinação do humano que, até hoje, fazem da Odisseia matriz das grandes narrativas universais.

Luísa Roubaud, Público

There is a very personal artistic world which, as a specific configuration of the human figure, evolved through a long time of continuous development of an identity, clearly representing a signature that has been intensively perfected. As strange as these bodies, in both cases differently, may seem to someone who sees them for a first time, as strange/unique is the result of a maturation and increasing definition of the identity of the creators/interpreters. And the level achieved is in itself a work of art.

Cláudia Galhós, Festival Bytes.

• Why Odyssey? And why so much repetition of movements in the show?

Not that I identify with one of the heroes in the epic. I wanted, however, to identify my dancers persons, Odysseus, Penelope, etc., in the sense that Ithaca each dancer is the attainment of perfection and this struggle until the end of their careers. To accomplish this, to reach the “Ithaca”, practiced over and over again, the same old thing every day, without a break. That is why the reproducibility of the choreography in the show. One more thing: as Ulysses during his journey tired as time goes by, frustrated and longing grows, so I created a series of dance movements that bring to mind the ballet dancers, now retired tired and perhaps frustrated . But as they move obvious how much knowledge they have about the body and their expression. Even wanting perfection.

Tânia Carvalho a Νόρα Ράλλη, ΕΦΗΜΕΡΙΔΑ ΤΩΝ ΣΥΝΤΑΚΤΩΝ

• Γιατί την Οδύσσεια; Και γιατί η τόση επανάληψη κινήσεων στην παράσταση;

Δεν είναι πως ταυτίζομαι με κάποιον από τους ήρωες στο έπος. Θέλησα, όμως, να ταυτίσω τους χορευτές μου με τα πρόσωπα, τον Οδυσσέα, την Πηνελόπη κ.λπ., υπό την έννοια πως η Ιθάκη για κάθε χορευτή είναι η επίτευξη της τελειότητας και με αυτό παλεύουν ώς το τέλος της καριέρας τους. Για να το καταφέρουν αυτό, για να φτάσουν στην «Ιθάκη», εξασκούνται ξανά και ξανά, τα ίδια και τα ίδια κάθε μέρα, χωρίς διάλειμμα. Γι’ αυτό και η επαναληπτικότητα της χορογραφίας στην παράσταση. Και κάτι ακόμα: όπως ο Οδυσσέας κατά τη διάρκεια του ταξιδιού του κουράζεται καθώς περνάει ο καιρός, απογοητεύεται και ο νόστος του αυξάνεται, έτσι κι εγώ δημιούργησα μία σειρά χορευτικών κινήσεων που φέρνουν στον νου χορευτές του μπαλέτου, που έχουν πλέον αποσυρθεί κουρασμένοι και ίσως απογοητευμένοι. Αλλά καθώς κινούνται φαίνεται πόση επίγνωση έχουν για το σώμα και την έκφρασή τους. Ακόμη επιθυμούν την τελειότητα.

Νίκου Ξένιου, Bookpress

A long applause has just followed Weaving Chaos, the Odyssey furiously and charming danced by the twelve dancers of Tania Carvalho. A floating shipwreck that leaves the audience mesmerized by grief, loneliness, anguish, madness, repetition, and beauty. 

Lara Cripa, abcdance

 

 

Carreira

2014

De 19 a 22 Setembro – Première Mondiale Biennal de la Danse de Lyon – Lyon

De 24 a 26 Setembro – Les Spectacles Vivants – Paris

2015

14 de fevereiro – Estreia Nacional Festival Guidance – Guimarães

19 de fevereiro – Teatro Académico de Gil Vicente – Coimbra

20  e 21 de Fevereiro  – Maria Matos Teatro Municipal – Lisboa

4 de junho  – PT 15 – Montemor-o-Novo

13 de Junho – Uzès Dance – Uzès

27 e 28 de junho – ελληνική πρεμιέρα Greek Festival – Athena

8 de julho – Nederlandse Première Julidans – Amsterdam

17 de agosto – Prima Italiana Operaestate Festival Veneto – Bassano del Grappa

14 de novembro – Teatro Virginia – Torres Novas

21 de novembro – Teatro Viriato – Viseu

2016

3, 4, 5, 6 de fevereiro – Théâtre National de Bretagne – Rennes

25 de março – L’Estive – Scène Nationale de Foix – Foix

31 de março, 1 de abril – CDC – Toulouse

3 de abril – Les Treize Arches – Scène conventionnée de Brive – Brive

2017

16 e 17 de fevereiro – Dansens Hus – Stockholm

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