Doing a solo that would be a lyric abstractionism.
But this body is a human form, and, on stage, it is figurative of that same form. Even though it is figurative — in the sense that it represents — it can, by way of an exercise, be composed of movements as if in a lyrical abstractionism. Or is it rather a stylized figurativism?
(A solo between lyrical abstractionism and figurativism).
Once it is figurative, what once was abstract ceases to be so. And immediately something else adds itself to it (current). One single person, alone on a stage, hardly avoids not to be so … but is someone else here? I’ve been here for so long. What is this? What are these things? Oh! It’s me! Where am I? I’m stuck in this place. Are they (chains)?*
*The portuguese word “corrente” – from the latin currens (running, hastening) – meansboth “movement”, in the sense of an artistic movement, and “chain”, as in being chained, restrained or confined to such a movement.
Tânia Carvalho (1976) was born in Viana do Castelo and lives in Lisbon. She is best known as a choreographer with a career spanning over 20 years, she also works in other artistic fields, such as music, drawing, and film.
Her choreography work includes pieces for the Lyon Opera Ballet (Xylographie), the Company of Elders in London (I Walk, You Sing), the National Ballet of Portugal (S), the Paulo Ribeiro Company (How will I do this?), Dançando com a Diferença (Doesdicon), and Ballet National de Marseille (one of four periods in time), among many others.
She has been developing several musical projects, of which stand out Madmud, Idiolecto and dubloc barulin. In 2018, she directed A Bag and a Stone – dance piece for screen, her first film.
She received the Young Creators Award 2000, with Inicialmente Previsto, and received the Prémio Autores from the Portuguese Society of Authors, for Icosahedron (2012) and oneironaut (2021).