Teresa Silva
Teresa Silva (Lisbon, 1988) is a portuguese artist, dedicated to research, creation and interpretation in contemporary dance and performance. She sees dance as something that exceeds the physical body, which translates into a work on attention and sensitivity, as well as into a multidisciplinary approach to movement.
Graduated from the National Conservatory Dance School, the Lisbon Polythecnic’s Higher School of Dance and the Choreographic Creation, Dance Research and Training Programme at Forum Dança, she has been developing choreographic work intimately marked by collaborative processes since 2008.
Her projects include Due to Force Majeure (2023); A small composition exercise (2023) co-created with vera Mantero; Synecdoche (2022); the investigation project Enjoy the weather (2021); Oracle (2020) created in collaboration with Sara Anjo; the co-creations with Filipe Pereira, Letting Nature take over us again (2013), What remains of what has passed (2013) and New Creation (2017), piece selected to Aerowaves Priority Company 2019; Conquest (2011) a solo adaptation of a Deborah Hay choreography; Leva a mão que eu levo o braço (2010) and Um Espanto não se Espera both (2011), both created in collaboration with Elizabete Francisca, both winners of the National Contest Jovens Criadores; A vida enorme/La vie en or co-created (2009) with Maria Lemos; and the solo Ocooo (2008).
In 2022 she create her first film, “Enjoy the weather: the film”, screened at the FID – Festival International de Cinéma de Marseille. As a performer and co-creator, she has worked with artists and choreographers such as La Tierce in Construire un feu; Kristina Norman in Orchidelirium – An appetite for Abundance, a film triology created to La Biennale di Venezia 2022; Alain Michard in En Danseuse and L’Aurore, Vera Mantero in O susto é um mundo, Sónia Baptista in The Anger! The Fury!, David Marques in Mistério da Cultura and Ressaca, Marco d’Agostin in Avalanche, Loïc Touzé in Forme Simple, Fanfare and Ô Montagne, Marlene Monteiro Freitas in Bacantes – Prelude to a purge (replacement), Liz Santoro & Pierre Godard in For Claude Shannon, Rita Natálio in Museu Encantador, Tiago Guedes in Hoje, Luís Guerra in Nevoeiro, Tânia Carvalho in Icosahedron and Sofia Dias & Vítor Roriz in O mesmo mas ligeiramente diferente.
Since 2019, she has been developing the laboratories “Can the body be an oracle?” with Sara Anjo and “States of attention and care through the performative practice”. In these, she highlights the way in which bodywork, along with movement and dance, constitutes a fundamental terrain of knowledge for being in the world today.