Choreography: Carolyn Carlson
Music: Paki Zennard, Michel Galasso

Costume: Maritza Gligo
Special thanks: Studio Atelier de Paris
Total time: 18 min
Premier: 9 August 2002

…Still, still sitting across the breakfast table,
Looking at you with vacuous regard,
There was nothing to say, there was nothing to say about anything
Anything's everything.
Very very simple,
So one day she was free
She left, she took off, she left her purse, her money
Ran through the mud ran through the winds
Farther then the wind above the trees…

How many times?
How many times have you seen these clouds?
But this time they covered you all the way
Up to the end of your head.

Unanswered is looking at your self
Where strangeness disappears in wind.

To follow your own
Your own

To dance the cosmos
(Carolyn Carlson)

"Talia Paz, transforms her long-limmed figure and her expressive face in the span between the possible and the impossible in her solo Dreaming over breakfast. This entirely new piece can be viewed as an urbane continuation of last year's solo Water Talk by the Paris-American Carolyn Carlson, who is obviously inspired by Paz' special ability to let every piece in her body move independently. Dreaming over breakfast is less lyrical, more expressionistic and theatrical in a Cullberg spirit, but nevertheless carries traces of Carlson's repertoire, influenced by zen life-philosophy on the cosmos which we create around ourselves.
You hear buzzing traffic when Talia Paz in the introduction freezes in a pose ready to flee, with her back bowed like an animal's and hands like claws. On the floor there is something reminding you of a Lager-painting; the colors of imagination which this woman carries within her. Paz moves along great lines in a rubbery resistance. Even when she has her back to us she draws her own universe around curve.

Svenska Dagbladet
Anna Angsrom
August 2002

A dreamy moment of happiness

Last year Talia Paz made a success with Carolyn Carlson's "Water Talk" in Vitabergsparken. This year the couple is back with "Dreaming over breakfast", world premiere this evening. The piece is funny, poetic and melancholy, dreamy but yet excessively concrete. Dressed for the office, Paz is standing by the edge, crooked, bowed. But the arched shape of her back also holds the power of a cat arching its back, where resistance gives power to be enchanted by other places, real or imaginary. This dancing monologue begins with only the noise from city traffic, not a single footstep anywhere. But you can always dream away: to the lovely nature, to let the wind lift your body and sway out into a cosmic state for a moment. The choreography is lacking in fantasy at times, for example the many arabesques. On the other hand it is difficult not to use arabesques with a dancer like Talia Paz - they express small, but pleasant trips away from the piece.

It's impossible to see Talia Paz perform too many times. She is that kind of a dancer who carries the ability to, through her expressiveness and radiating presence, share with us both the experiences of the soul and bodily senses. The dance and the dancer are in a way non-disbanding, yet they're not.

Dagens Nyheter
August 2002
Cecillia olsson