Morla

Catarina Morla is a portuguese costume designer.
Graduated in Dance by the Superior Dance School in Lisbon and Institute del Teatre in Barcelona (2014) and Fashion Design by the University of Architecture of Lisbon (2010). Completed the Corsage Modeling Course in Modatex school (2011 Lisbon) and Costume Making shortcourse by Central Sain Martins (London 2019).

Since 2010 Morla is connected with dance and costume design. From her first work with the choreographer André Mesquita she was involved in the pieces like "Milk", "Suggestions for walking Alone" and "Vertical". In 2014 designed for "Play False" of António Cabrita and São Castro that won the prize of best portuguese choreography in the same year. Morla worked in "BAOBAB" by Kwenda Lima (2016), "INPHI" of the PIA company, "Xurxo" by Fran Martínez, "THE IMPORTANCE OF BEING UNNECESSARY" by António Torres and Ana Jezabel (2017). Since 2016, she has been collaborating with the Almada Dance Company in works such as "Inside the Embrace" from Bruno Duarte, "Almada, the European Capital of Sport" by Bruno Duarte, "MARVEL" (2017) by Luís Marrafa and "Qu'ils mangent de la brioche#publicperception" by Luís Malaquias (2019). In 2018 made the costume for the musical piece "Once upon a time I was letucce" by Fatima Fonte presented in São Carlos National Theater, designed and create for Superior Dance School, "Finally Heaven" from Amélia Bentes, presented in São Jorge Castle in Lisbon. In Barcelona she works as seamstress and costume assistant in Coco Comín Performing Arts School.

In 2018 Morla created her first Textille Sculpture that was presented has a performance, collaborating with several dancers. ALVÉOLO was the motto for the opening of her atelier in Lisbon and since then was presented at the exhibition with the photographer Joaquim Leal and on the Artes no Camiño Festival, Galiza.
In 2015 Morla launched the S.C.A.R.F.S. Collection.Exhibited in 2011 b.o.d.y. surface, a collection of experimental clothing with latex in feedback #2, in the Olga Roriz Company.

In dance area, choreographed pieces like "And now you're really in the total animal soup of time"(2016), Kururunfa (2016), DESIGNED TO FAIL (2015), Holy the supernatural extra brilliant intelligent kindness of the Soul (2012).

COSTUME DESIGN

ALVÉOLO

The virus promises a process of modification of the initial form. The occupation of a non-host space provides the necessary tools for its evolution. His behavior is to perform multiple reproductions of himself in order to achieve developement.The construction of the hive also goes through a process of transformation of circular forms that, when touches each others, create a system of edges and the surfaces containing a structure of hexagonal alveoli.... A destructure and disorganization can be seen as a process of separating parts to achieve a new configuration, result.

Performer: Maurícia Barreira Neves/ Teresa Alves da Silva/ Fran MartinezMusic: Silvia MondinoPhoto and Video: Joaquim Leal and Chiara MissaggiaSupport: Chumbo, The Hospital, Artes no Camiño

FINALLY HEAVEN

Leading AMÉLIA BENTESCo-creation and Interpretation ALUNOS FINALISTAS DO CURSO DE LICENCIATURA EM DANÇACostumes CATARINA MORLAPhotographs JOAQUIM LEALPartnership between ESD - Escola Superior de Dança, Instituto Politécnico de Lisboa and EGEAC/Castelo de S. Jorge

MARVEL

Choreography/Music - Luis MarrafaDancers - Bruno Duarte, Luís Malaquias, Joana Puntel, Francisco Ferreira, Beatriz Rousseau, Raquel TavaresCostume sketch - Luis MarrafaCostume creation - Catarina MorlaLight design - Cláudia Rodrigues Rehearsal assistant - Maria João Lopes, Cláudia SampaioThanks to - Petra Van Gompel, Bruno MarchandProductionCompanhia de Dança de AlmadaCo-ProductionMARRAFA companyBrussels/Almada/2017

THE IMPORTANCE OF BEING unNECESSARY

We all born alone and, consequently, we need time to mourn. The moment that we meet with ourselves and enjoy in it, even alone, rushing and leaving something in the past. The fight of an identity. The mourning while the fight is taking place. The insistent break of time doesn't let the body bow down, as a slave that doesn't bow down.

Choreography, Interpretation and music construction | Ana Jezabel + António Torres Lights design | Sara Garrinhas Video Projection | João Leitão Costumes | Ana Jezabel + António Torres and Catarina Morla Production | Sara Garrinhas and Mónica Talina Photography | Joaquim Leal, (Paulo Pacheco and Jaime Machado) Artistic Residencies | EKA, Musibéria, O Espaço do Tempo, Teatro Viriato (Companhia Paulo Ribeiro), DeVIR/CAPA and CCVF (Centro Cultural Vila Flor) Supports | CCVF and Fundação Calouste Gulbenkian Coproduction | CCVF and Teatro d´Vão Age Rating | Over the age of 12years Length | 50min2016

XURXO

A state of alertness, vigilance, lack of control, permanence and evasion, of ecstasy, fullness and emptiness. The moment when there are no words; only flesh, only physical landscapes, emotional regions, valleys, plains, peaks, groves.A journey through the hazy territories of two bodies loaded with memory, desire and history.

Concept: Fran Martínez Co-Creation: Amélia Bentes and Fran MartínezInterpretation: Diletta Bindi and Fran MartínezMusic: Ana Pereira Photography: Joaquim LealProduction:Castelo de S. Jorge - EGEAC2016

PLAY FALSE

Only Humans are known for questioning about a purpose of life beyond the simple and basic need for survival. Or the nature of existence itself. What we are, and what conditions us.
A journey through the human condition confronts us with our historical and social existence. The quest for a meaning leads us to the urgent need for an articulation between man and his limits, taking him to the authentic but to the false as well.

Who better than Shakespeare to talk about mental conflicts, emotion vs reason or even what’s beyond words?

Resorting to the psychology and human behavior of characters like Lady Macbeth, Hamlet, Romeo and Juliet and Richard III to question their own issues, using their words and actions as subject for our gestures and movements.

Concept, Choreography & InterpretationAntónio Cabrita and São CastroMusicAntónio Cabrita and São Castro CostumesCatarina MorlaCostumes DesignNuno NogueiraTechnical DirectionJoão FrangoProduction & DiffusionVo'ArteCo-ProductionCentro Cultural de BelémAcknowledgementsCatarina Câmara, Claudio Hochman and Maria de Assis

body.surface

Starting from the principle of the body as an object of manipulation and exploration of the luminous intensity, ephemeral surfaces are created and appeal to the tactile. Approaching our own skin as the concept of refuge, the work goes in the duality of the fragile, internal, protected and the artificial, carapace.Inspired by the geometry and structure of the bones and through the latex, organized forms of unrepeatable textures intersect with the porosity of the skin and its uniqueness.

Presented in FEEDBACK#2, a FeedBack kollective exhibition on Olga Roriz Company, 2011.Photograph by Guzmán RosadoDancers Sylvia Reijmer, Teresa Alves da Silva, Marco da Silva Ferreira, Tiago Coelho, Piny

FASHION

S.C.A.R.F.S.

S.C.A.R.F.S. colletion is a product characterized by eclecticism of materials and colors. With inspirations in the cowboy scarf, arabic and the guerrilla characters, a new piece of design emerges, that aims to highlight the personality and the lines of who uses it. This is more than a decorum, assuming itself as an element that appeals to the sensations and aesthetic sensibility of the consumer. The combination of patterns and textures gives way to unexpected careful experiments in every detail. Each piece is designed as a single object and created to maintain the precision and quality of the manufactured product. The S.C.A.R.F.S line is in constant development and creation of new products unrepeatable and exclusive.