2006 - Tarde de mais Mariana

"Tarde de mais Mariana" is the title of a novel by the Portuguese writer Filomena Cabral.

I bought this book on the day that my first long-lasting love relationship ended.At that same time, for a school exercise it was necessary to create a choreographic solo. The fact that this book was very present, I toke it to the studio as a starting point.The book reports a loving trio, and several texts are devoted to the death of one of the characters and the way it disturbed Mariana (main character) - are also present reflections of the "Several faces of duplicitous, ambiguous woman, created by christian and patriarchal civilization, where only through man, those woman could have a definite identity". All this made sense to me, the way I felt, but also the way I saw my parents relationship.For the creation of the solo, I was not interested in narrating or illustrating the texts, but using them as a way to reach my past.After several weeks of essays, the play although it followed different paths, I maintained the title as a way to create a link to the beginning of the project. In the choreographic composition "Tarde demais Mariana", Mariana is me, my mother and the house where we live (my first house).

Creation and interpretation Flávio Rodrigues;

Interpreters in the process Carla Valquaresma e Joana Castro;

Artistic advice Né Barros e Isabel Barros;

Co-production Balleteatro;

Presentations: Balleteatro auditório (Porto, PT). Galeria Servartes (Porto, PT);

Re-criação/reflexão para o Festival Dança.PT (Balleteatro), 2010

Tarde de mais Mariana (2006) is the title of my first solo. I recognise this project as a starting point for subsequent creations: Brian Slade (2007), CATÁLOGO (2008), Charlotte O'Day (2009) and Até ao fim/Until the End (2010).In Até ao fim/until the end (2010), my latest creation, I raise issues related to the perception of end: the finalization of routes or cycles. And it is in this challenge that I seek strategies and solutions "for a non-ending meaning". The "construction" of circumferences is the metaphor that I have to use to find in closure a way to start over. And it is perhaps as a consequence of this consideration that I am thinking of the cycle that my performances have created, and in this sense, the intention of rethinking "too Late Mariana", and taking me to the studio now, the "weight of all the proceeding history".

A creation by and with Flávio Rodrigues

Artistic advice Vera Mota

Photograph by Tiago Oliveira

Presentations: Balleteatro (Festival Dança.pt, PT).