Photo of Angel Vianna taken at the Carnival of 1929 (1929) by Unidentified photographerPortal MUD - Dance Museum
Childhood and Youth
In 1889, Miguel and Salime Abras emigrated from Zahle, Lebanon, to Brazil, settling in the small town of Curral Del Rei, which would later become Belo Horizonte (MG). There, they established a traditional Minas Gerais family of Lebanese origin.
Photo of Angel Vianna with her family (1950) by Unidentified photographerPortal MUD - Dance Museum
Among her children was Margarida, who married her cousin Nicolau Elias Abras, with whom she had four children: Violeta, Nicolau, Maria Ângela (Angel), and the youngest, Wadia Alice. Angel was born on June 17, 1928, under the sign of Gemini.
The study of music and the visual arts was a part of Angel's family tradition, and she began her training with piano lessons from Professor Francisco Masferrer in 1945, at the age of 17, always with great support from her family.
Photo of Angel Vianna at 13 years old at Colégio Santa Maria das Dominicanas (1941) by Unidentified photographerPortal MUD - Dance Museum
Angel, a dedicated student, attended Grupo Afonso Penna, Colégio Santa Maria, and Instituto Padre Machado, where she met Klauss Vianna (1928-1992), who would become her husband, partner, and accomplice in her journey.
Photo of Angel Vianna at the Ballet de Minas Gerais (1951) by Unidentified photographerPortal MUD - Dance Museum
An artist is born
By evading her father's watchful eye, Angel joined the Ballet of Minas Gerais.
In 1948, Angel joined the Ballet of Minas Gerais, directed by Professor Carlos Leite (1914-1995).
Photo of Angel, Klauss Vianna, and Vera Lúcia Coelho (1951) by BuzaPortal MUD - Dance Museum
To evade her father’s watchful eye, who did not want her involved in dance, Angel took lessons in secret, using the excuse that she was going to do gymnastics with a family friend. It was with the Ballet of Minas Gerais that Angel and Klauss Vianna began their dance studies.
One day, while reading the newspaper, Nicolau, her father, saw a photo announcing the choreography Dança Árabe-Egípcia by Carlos Leite and discovered that his daughter was not only taking dance classes but also performing publicly.
Photo 2 of Angel Vianna in "Odalísca," choreography by Carlos Leite (1950) by Unidentified photographerPortal MUD - Dance Museum
Convinced that this would hinder a good marriage for his daughter, he tried in every way to prevent her from dancing, but was unsuccessful. In addition to being part of Carlos Leite's group, Angel performed at the parties of the Teatro Mineiro de Arte.
In an effort to find the correct positions and movements in ballet, Angel began to develop an interest in the study of human skeletal structure and anatomy in general, and decided to delve deeper into the field.
A few years later, she informally attended anatomy courses at the School of Dentistry and Pharmacy at UFMG. These studies also aided her in creating her sculptures and in understanding her lifelong instrument of work: the body.
In 1952, Angel began attending the School of Fine Arts at the University of the State of Minas Gerais, where she studied drawing, sculpture, and painting.
Photo of Angel Vianna on her first trip to Bahia (1950) by Unidentified photographerPortal MUD - Dance Museum
During a stay in Salvador with her sister, Angel met Wilson Rocha, who introduced her to the entire Bahian artistic community, including Mário Cravo, Caribé, Jener Augusto, Emanuel de Araújo, among others.
In 1955, TV Itacolomi was inaugurated, and Angel performed as a soloist in Les Sílfides with the Ballet of Minas Gerais during the opening program.
Photo of the religious wedding of Angel and Klauss Vianna (1956-06-29) by Unidentified photographerPortal MUD - Dance Museum
Em 29 de junho de 1955, Angel e Klauss se casam, depois de três anos esperando a permissão do pai de Angel. Carlos Leite foi um dos padrinhos.
Photo of Angel Vianna with students from the Klauss Vianna School (1950) by Unidentified photographerPortal MUD - Dance Museum
Angel and Klauss left the first school
Geração Complemento and the influence of the thought of an entire generation of Brazilian intellectuals.
In the 1950s, a group of artists and intellectuals began gathering at the Alpino restaurant in Belo Horizonte with the ambition of creating a magazine, Complemento. The magazine was directed by Silviano Santiago, Ary Xavier, Ezequiel Neves, Heitor Martins, and Teotônio dos Santo
There is a large number of contributors from different artistic movements. The group becomes known as the Complementary Generation and influences the thinking of an entire generation of Brazilian intellectuals.
Photo of Klauss and Angel's classes at grandmother Erna Mutter's housePortal MUD - Dance Museum
Here, a vast network of connections forms, where learning is informally absorbed by the young people engaged in the cultural life of the city. This intellectual and artistic atmosphere is reflected in the diversity of projects from both the Klauss Vianna School and the Klauss Vi
The couple moves into the home of Erna Muta, Klauss's grandmother, and opens a dance school there. The Ballet Klauss Vianna stands out for its thorough body research, where ballet is not viewed as something to be copied, but rather understood.
At the school, Angel takes on multiple roles: director, treasurer, dancer, soloist, assistant, advisor, costume designer, and often performs as a dresser. During the shows, she also does the makeup and hairstyling for the dancers and works as a stagehand.
Photo of Angel, Klauss, and Rainer Vianna with Erna Mutter, Klauss's grandmother (1959) by Unidentified photographerPortal MUD - Dance Museum
In 1958, Angel and Klauss's son, Rainer Vianna (1958-1995), is born. At just three months old, he already joins a trip with the Ballet Klauss Vianna to Lavras, while Angel breastfeeds him during the breaks in the choreography.
The Ballet Klauss Vianna, directed by the couple at the dance school, was officially established on September 19, 1959. Angel Vianna served as the principal dancer and choreographer.
With this group, Angel and Klauss Vianna were able to deepen their research, both technical and choreographic, and develop processes they had begun a few years earlier.
The second staging of "Caso do Vestido" (1960) by IanniniPortal MUD - Dance Museum
From the beginning, the group stands out for its innovative character, as it does not view ballet as a closed discipline. Instead, it focuses on breaking down the boundaries between the arts and creating a genuinely Brazilian dance.
Choreography "Sanctus" (1966) by Unidentified photographerPortal MUD - Dance Museum
The Adventure in Bahia
Rolf Gelewsky, then director of the dance program at UFBA, recognizing the quality of the Viannas, invited them to teach in a program that would be the only higher education course in dance in Brazil for 28 years.
Klauss and Angel spend January 1963 handling all the bureaucratic procedures to close the Ballet Klauss Vianna and prepare for the family's permanent move.
In 1963, the Viannas arrive in Salvador to work at the Dance School of the University of Bahia at the invitation of Rolf Gelewsky. Klauss and Angel teach at the university, and Angel also performs with the Grupo Juventude Dança, directed by Rolf.
The two inaugurate the Classical Dance department at the UFBA Dance School. They receive lessons from Rolf, noted for his knowledge in art and philosophy, and are introduced to the Laban system and German expressionist dance.
The Viannas deepen their studies in the art of capoeira with Master Gato, and Klauss attempts to integrate it into the undergraduate curriculum, but without success.
Angel and Nureyev in “Giselle” (1967) by Unidentified photographerPortal MUD - Dance Museum
Nena, a friend of the couple in Rio de Janeiro, writes to tell them that the city is great and offers job opportunities on TV. Knowing she needs to grow, Angel decides to move to Rio, despite Klauss's objections, in order to continue her choreographic research and her experience
Testimony by Dulce Aquino (2012)Portal MUD - Dance Museum
The 2nd staging of "Cobra Grande" with Academia Tatiana Leskova (1968) by Unidentified photographerPortal MUD - Dance Museum
Rio de Janeiro, the First Challenges
The first years in Rio are filled with many difficulties. Angel starts working as a dancer on TV, while Klauss begins teaching at Grajaú Tennis Club, where he remains until 1969.
Lydia Costallat, then director of the Ballet School at Theatro Municipal, introduces Angel to Tatiana Leskova, who invites her to teach at her school. Lydia also asks Klauss to take over her teaching position at the Theatro Municipal School, where he works for 11 years.
Angel Vianna worked for about nine years at the Tatiana Leskova Ballet Academy, serving as a teacher, researcher, and choreographer. At the school, in addition to teaching ballet classes, she began developing what would later be known as "Body Expression."
Thus begins a new phase in the couple's life. With their new jobs, they are able to bring their eight-year-old son, the grandmother, and a household employee to Rio de Janeiro.
Director José Renato invites Klauss Vianna to do the physical preparation of the actors and choreography for "The Threepenny Opera," with Angel as a dancer. The premiere, in January 1967, inaugurates the Cecília Meireles Hall and marks the beginning of the couple's long-lasting
In 1967, Angel Vianna performed at the Theatro Municipal of Rio de Janeiro as a member of Dalal Achcar's dance company. She danced in Giselle, with Rudolf Nureyev and Margot Fonteyn as the lead soloists. This would be Angel's final classical ballet performance.
Testimony by Tatiana Leskova (2012)Portal MUD - Dance Museum
Photo of the performance "Procissão dos Navegantes" (1968) by Unidentified photographerPortal MUD - Dance Museum
Theater and Physical Preparation
Noticing the growing interest from the theater community in what was called "Body Expression," Angel opens a class specifically for actors at Tatiana Leskova's studio.
Still in 1970, with sponsorship from the Secretary of Education and Culture of Mato Grosso, she conducts the course "II Tempo de Teatro – Vivência Corporal" in the city of Cuiabá, spreading her work on the actor's body.
From then on, Angel receives numerous invitations to teach classes focused on movement awareness and "Body Expression," as well as to lead physical preparation for various theatrical productions.
Photo of Grupo BrincadeirasPortal MUD - Dance Museum
The First School in Rio
In June 1975, Angel, Klauss Vianna, and Tereza d'Aquino founded the Center for Body Research, Art, and Education (CEPCAE). Known as the "Cultural Corridor of Rio de Janeiro," the school attracts prominent artists and intellectuals from the city.
The proposal of the Center for Body Research, Art, and Education was pioneering in the study of body language. For Angel Vianna, the school was the result of the need for "a clearer space for body expression" and her ongoing pursuit to realize the work she believed in.
She was responsible for the classes on Body Awareness, while Klauss Vianna taught Modern Dance, and Tereza d'Aquino handled the Classical Ballet classes.
In May 1975, Angel founded the Brincadeiras Group, with the goal of "making people who think they can't dance, dance." The group was formed by individuals who attended Angel Vianna's Expressive Movement classes.
The Grupo Brincadeiras had a short duration and was disbanded after a performance at a judicial asylum, where the dancers refused to perform alongside the inmates.
Class of the Grupo Teatro do Movimento (1977) by Unidentified photographerPortal MUD - Dance Museum
Angel Vianna, Klauss, and Thereza D’Aquino formed the group Teatro do Movimento, regarded as one of the pioneers of contemporary dance in Brazil, which operated until 1979.
The group brought together several notable figures who would later emerge in the national scene.
Testimony Lourdes Bastos (2012)Portal MUD - Dance Museum
Choreography "Terreno Baldio" (1981) by Unidentified photographerPortal MUD - Dance Museum
Consolidation of the Angel Vianna School
The physical work developed by Angel Vianna increasingly becomes a hallmark of her teaching practice.
At the end of 1985, the first class of Brazil's Professional Course in Contemporary Dance was established, authorized by the State Department of Education.
The course lasts three years and offers a curriculum that includes classes in expressive movement, movement awareness, vocal expression, music, theater, anatomy, physiology, kinesiology, contemporary dance, and classical ballet.
Angel Vianna teaching in São PauloPortal MUD - Dance Museum
Later, additional subjects such as dance history and choreographic composition were added. The course significantly contributed to the development of "thinking bodies."
Always engaged with the political issues surrounding dance, Angel Vianna was responsible for delivering a document signed by three thousand people to the president of Inacen (National Institute of Performing Arts), Carlos Miranda, demanding a theater exclusively for dance.
Rainer Vianna, follows in his parents' footsteps in dance, choreographing "Movimento Cinco Mulher" for his mother. This work helped Angel return to the stage after 20 years.
In the 1980s, Angel Vianna received a series of awards, including the Medalha ao Mérito Artístico and the Diploma de Honra ao Mérito from CIDD.
Since the 1950s, at the Klauss Vianna School in Belo Horizonte, Angel welcomed students with physical disabilities to learn dance. Inspired by this experience, in 1991, she launched a technical course in Motor Recovery and Therapy through Dance.
Klauss and Angel Vianna during "Hoje é Dia de Rock" (1972) by Unidentified photographerPortal MUD - Dance Museum
On April 12, 1992, Klauss Vianna passed away due to heart complications. His death was a significant loss for both the family and the dance and theater communities. Following this event, Angel dedicated herself to her work.
Testimony Vera Andrade (2012)Portal MUD - Dance Museum
Angel Vianna teaching at Faculdade Angel Vianna (2009) by Unidentified photographerPortal MUD - Dance Museum
The College
In 2001, in Rio de Janeiro, following a series of events, the Angel Vianna College was inaugurated, offering Bachelor and Full Licensure degrees in Dance.
At the end of 1993, a major event celebrated the ten-year anniversary of the Angel Vianna School. Titled "Angel Vianna, Ten Years Have Passed," the event featured performances, discussions, workshops, exhibitions, videos, presentations, and even a commemorative newspaper.
Angel Vianna establishes a new dance company called Novo Grupo Teatro do Movimento. Three dancers, who were students of the technical course at the Angel Vianna School at the time, participated in this new group: Alexandre Franco, Maria Alice Poppe, and Paulo Caldas.
Drawing depicting Angel Vianna (1999) by Martha PoppePortal MUD - Dance Museum
In August 1995, her son Rainer Vianna passed away at the age of 37. Angel took a year off from work. During this time, she fell, broke her leg, and underwent delicate surgery. It was a moment to apply the knowledge she had acquired throughout her life.
In 1996, Angel Vianna founded the IPACEAV (Institute for Research in Art, Body, and Education) to promote the production and transmission of knowledge about the manifestations of the body in the field of the arts.
In 1997, Angel Vianna received the Mambembe Award for her lifetime achievements and honored Klauss and Rainer by dancing while still on crutches. That same year, she premiered the solo piece "Angel, Simply Angel."
In 1998, the Angel Vianna School celebrated 15 years of activity, and in 1999, Angel Vianna received the Order of Cultural Merit commendation from then-President Fernando Henrique Cardoso for her significant contributions to Brazilian culture.
Angel Vianna at the College (1999) by Unidentified photographerPortal MUD - Dance Museum
With 70 students enrolled in the first entrance exam, the Angel Vianna College graduated two classes in 2001.
Testimony Paulo Trajano (2012)Portal MUD - Dance Museum
Scene from the performance "A Tempo" (2007) by Unidentified photographerPortal MUD - Dance Museum
A Lady of Dance
In 2002, in São Paulo, Angel was honored at the event "Damas da Dança."
Angel Vianna received several awards and honors between 2002 and 2012, including the Multicultural Estadão Award, the Antares Recognition Award for Dance, and the SESC/SATED Award for Performing Arts, among others.
In 2003, the Federal University of Bahia awarded Angel Vianna the title of Doctor of Notorious Knowledge in the fields of Movement Awareness, Kinesiology, and Dance.
In November 2004, the Ministry of Education (MEC) finally gave a favorable opinion for the operation of the Angel Vianna College.
Photo of a scene from the choreography "... Qualquer coisa a gente muda" (2010) by Renato MangolinPortal MUD - Dance Museum
Her Knowledge Resonates Through Generations of Artists
Angel Vianna's extensive knowledge and experiences in dance continue to be generously shared with artists across Brazil.
Her dedication to sharing her art and creating a dance connected to the identity of the Brazilian people continues to transform students, dancers, and choreographers who learn her movements and technique to this day.
Photo of the Performative Installation "Ferida Sábia" (2012-11-01) by Cristiano TradPortal MUD - Dance Museum
Her technical and artistic approach opened doors for many, providing not only artistic training but also personal development. Angel Vianna has built an indelible legacy in dance, becoming a central figure of inspiration for generations of dancers in Brazil.
Learn more about Angel Vianna's story
Access testimonies from other artists and materials from the artist's archive on the MUD Portal.
This story is part of the MOVER MEMÓRIAS project, awarded by the FUNARTE RETOMADA - DANCE 2023 grant.
Curation: Neide Neves
Project Coordination: Talita Bretas
Coordination Assistant: Rúbia Galera
Support: Marcia Feijo and Zélia Monteiro