“Só um Bocadinho” is the work Clara Andermatt made as a result of the III Certámen Coreografico de Madrid’s award to “En-Fim”, in 1989.
The piece enacts tragicomic situations, portrayed in a crude and emotive fashion. “Só um Bocadinho” reveals, at this early stage of the choreographer’s career, the aesthetics and the language that Andermatt would explore in later works – the emotions, the parody of sociability, sex, manipulation, and human relations – and the sharp, at times grotesque, and often witty ways in which she explores these subjects.
“The razor’s edge is very thin. I see my life threatened by two dangers: by the hungry mouths of greed, and by the bitterness of misery that feeds on itself.”
Stig Dagerman
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In 1997, for the 2nd edition of “Dancem!” (“Dance!”) Festival, programmed by Teatro Nacional de São João, in Oporto, the choreographer Paulo Ribeiro dares three dance companies (Portugal – ACCCA; England – DV8 Physical Theatre; France – Compagnie Fattoumi-Lamoureux) to choose and restage some of their first works. Clara Andermatt brings to the stage “Só um Bocadinho” (1990) and “Anomalias Magnéticas” (1995).