Parece que o Mundo (It Seems the World)

2018

“Parece que o Mundo” brings together Clara Andermatt and the composer João Lucas, who has been a long-time collaborator of the choreographer. Inspired by Italo Calvino’s "Palomar", the piece encourages the act of observing, while examining the subjective relation that is established between the observer and the one being observed. On stage, a diverse group of dancers and musicians share an expressivity which interweaves the gestures of the bodies with the sounds of musical instruments in motion.

Fica no Singelo (Keep It Simple)

2013

In “Fica no Singelo”, Clara Andermatt explores and works with the universe of traditional Portuguese music and dances. Departing from a research into the multiple forms of popular dance (“baile”, in Portuguese, is a word that differs from dance, as it specifically means folk dance) and its social functions as well as their cultural meaning and the sort of dialogue they establish between the group and the community. In “Fica no Singelo”, Andermatt brings to the stage fragments of (still existing) manifestations of our traditional legacy, interpreting them in new ways and establishing a new type of relation between the traditional and the contemporary, and with agelessness.

So Solo

2009

Within the course of a productive and multifaceted career that encompasses different spheres, collaborations, and fields, “So Solo” is Andermatt’s first full-length solo work that she interprets herself. It was considered by the specialized dance criticism as one of the best pieces presented in Portugal in 2009.

VOID

2009

Ten years after “Dan Dau”, the work that crowns an intense period of creativity inspired on Clara Andermatt’s relationship with Cape Verdean culture, the choreographer resumes, in 2009, that relationship, creating “VOID”, a collaboration with two interpreters from past works. A year later, Andermatt brings to the performance yet another element of that shared past - the percussionist Kabum - and names it “VOID Elétrico”, a piece to be played outdoors, with a renewed organic structure.

Uma História da Dúvida (A Story of Doubt)

1998

“Uma História da Dúvida”, created in Cape Verde, is an outstanding work, both in Clara Andermatt’s career and in the history of Contemporary Dance in Portugal. The result is a large-scale production, passionate and strikingly visual, where music, movement and image combine. Fifteen male interpreters bring to the piece an intense physicality, and the powerful sonorities embody aspects of Cape Verdean culture. The piece was premièred at the 1998 World Exposition’s “Dive into the Future” Festival, in Lisbon. Clara Andermatt also received, in 1999, the Prémio Almada, the highest award from the Portuguese Ministry of Culture for this piece.

Dançar Cabo Verde (Dancing Cape Verde)

1994

In 1993, Jorge Salavisa, who was responsible for the Dance programme for “Lisbon'94 - European Cultural Capital”, invited Clara Andermatt and Paulo Ribeiro to travel to Cape Verde to work together on a new piece, based on the encounter with the dances and the music from that country. “Dançar Cabo Verde” signals the start of a new relation between Portuguese contemporary dance and traditional African expressions, and a long and remarkable collaboration of Clara Andermatt with that country.

Mel (Honey)

1991

Invited by the Calouste Gulbenkian Foundation’s Serviço ACARTE, Clara Andermatt creates “Mel”, a work that comes to be associated to the genesis of her own company, Companhia Clara Andermatt. “Mel” is a piece in which Andermatt explores the various expressions of dependence, and its correlation to an inward quest for truth. It's a metaphor; sweetness can be simultaneously syrupy and bitter.

En-Fim (The End)

1989

In “En-Fim”, Clara Andermatt portrays the apogee, the decline, and the end of a love affair. A duet Andermatt made when she was living and working in Barcelona. “En-Fim” won the first prize in the III Certamen Coreográfico de Madrid, in 1989.