The Story of Dancer Klauss Vianna
A journey of connection between body, movement, and transformation – the art of communication and of life
Photograph of Klauss Vianna as a child (1933) by Unknown authorshipPortal MUD - Dance Museum
Childhood and Adolescence in Belo Horizonte
Klauss Vianna was born in Belo Horizonte on August 12, 1928, the son of João Ribeiro Vianna and Erna Maria Vianna. His childhood was shaped by close family ties and a strong bond with his maternal grandmother, Maria Hapke, and his brother Ruy.
After his father's death, the family moved to Bias Fortes Street, where Klauss would later found his dance school. From an early age, he was fascinated by the human body and movement—observing chickens, trees, and even the skeleton in his father’s medical office.
In his teenage years, he met Angel Abras, who would become his partner in both dance and life.
Photograph of Klauss Vianna and his mother by Unknown authorshipPortal MUD - Dance Museum
Klauss Vianna in Swan Lake (1949) by Unknown authorshipPortal MUD - Dance Museum
Beginning of Professional Life in Belo Horizonte
In 1947, Klauss attended a Ballet da Juventude performance and began studying with Carlos Leite. A year and a half later, he became his assistant and started choreographing, committing to dance despite family resistance.
In the 1950s, Klauss studied in São Paulo with Maria Olenewa and later returned to perform with the Ballet de Minas Gerais.
In 1952, he wrote For the Creation of a National Ballet and began teaching at Carlos Leite’s school. In 1955, he transformed his home into an improvised dance space, in partnership with Angel Vianna.
In 1955, Klauss left the Ballet de Minas Gerais and married Angel, a friend he had met in his adolescence. In 1956, the Ballet Klauss Vianna was born, revolutionizing the approach to body and movement in dance.
Choreography "Arabela: The Maiden and the Myth" (1960) by IanniniPortal MUD - Dance Museum
In the 1950s, Klauss Vianna sought a Brazilian identity in ballet. In 1957, he created Cobra Grande, inspired by the poem Cobra Norato, with costumes by Angel Vianna. As part of Geração Complemento, vibrant meetings strengthened his artistic research.
In 1958, Klauss participated in a series of festivals with his choreographies, notably O Caso do Vestido, inspired by Carlos Drummond de Andrade’s poem. By 1960, he brought his innovative works to Minas, Vitória, Rio, and São Paulo, earning recognition and awards.
Photo of the play “Arabela a Donzela e o Mito” (1960) by Iannini.Portal MUD - Dance Museum
Between 1960 and 1962, Klauss deepened his dance research, creating works like Arabela, a Donzela e o Mito, experimenting with new scenic forms.
Em 1963, Klauss and Angel accepted an invitation to teach at the Federal University of Bahia. Beyond teaching, they deepened research in kinesiology and anatomy applied to movement. This change marked the strengthening of their investigation, which would influence generations of artists.
Klauss Vianna at the Bahia School of Dance (1963) by R. Dias LimaPortal MUD - Dance Museum
"Bahia opened the doors to the outside world for me, because until then I had lived only within myself. I stayed there for two years, until 1964, when it was time to leave once again: the university had no funds, the country was in chaos, and I no longer had the mindset to creat"
Klauss at the Ballet School of the Municipal Theatre of Rio de Janeiro (1970) by Unknown authorshipPortal MUD - Dance Museum
Arrival in Rio de Janeiro
In 1965, Klauss and Angel moved to Rio de Janeiro. Angel danced on TV, while Klauss taught in the outskirts. That same year, he was invited to teach at the Municipal School of Ballet, where he stayed for 11 years. Angel also began teaching at Tatiana Leskova’s school.
Klauss's journey in theater intensified in 1967.
He choreographed The Threepenny Opera and Navalha na Carne, starting new collaborations. In 1968, Roda Viva made history when it was raided by the Comando de Caça aos Comunistas
In the early 1970s, Klauss prepared the cast of The Architect and the Emperor of Assyria"(1970), winning the APCT Award. He also worked on the film Pedro Diabo Ama Rosa Meia-Noite. In 1971, Hoje é Dia de Rock earned him the Molière Award for lifetime achievement.
In 1972, Klauss suffered a heart attack, was hospitalized for months, and underwent surgery. In 1974, he traveled to Europe and the U.S., deepening his studies in dance and theater.
Klauss became a dance critic for Jornal do Brasil (1975–76) and co-founded the Center for Body Research, Art, and Education with Angel Vianna and Thereza D’Aquino, which became a cultural hub in Rio. He also took over the direction of the Martins Pena School.
Record of the play “Construção” – The Movement Theatre Group (1978) by Unknown authorshipPortal MUD - Dance Museum
Together with Angel, Klauss co-founded the Grupo Teatro do Movimento and continued working in theater. His research and techniques revolutionized bodily expression, leaving a lasting legacy in Brazilian dance and theater. His name is forever etched in the history of art.
The Movement Theatre Group (1976) by Unknown authorshipPortal MUD - Dance Museum
Klauss Vianna teaching in São Paulo (1984) by Sátiro ValençaPortal MUD - Dance Museum
São Paulo and the transformations in dance
In 1981, Klauss Vianna became director of São Paulo’s Municipal Ballet School, introducing modern dance classes and a night course for young men that drew 200 applicants. He continued research and taught in key spaces, greatly expanding his impact on dance.
Klauss worked as physical trainer for Clara Crocodilo, based on Arrigo Barnabé’s music and directed by Lala Deheinzelin. It premiered in June 1981 at Teatro Maria Della Costa and ran for nearly two months to full houses, an unprecedented success for dance.
As director of the São Paulo City Ballet
Klauss revolutionized the company by emphasizing research and collaboration. He created the Experimental Group, uniting artist-researchers and sparking lasting change. In 1982, he premiered Bolero, awarded by APCA and performed in São Paulo and Rio, cementing his innovative vision.
Choreography: “Dama das Camélias: Um Delírio Romântico” (1983) by Albert Roger HemsiPortal MUD - Dance Museum
In the following years, Klauss continued his work in dance and theater, participating in notable productions like Dama das Camélias and Mão na Luva. In 1988, he was attacked for opposing the exclusion of homosexuals at the Ballet School, a policy imposed by Jânio Quadros.
Show “Mão na Luva” (1984) by Unknown authorshipPortal MUD - Dance Museum
In 1990, he published the book A Dança, a synthesis of his body research, gaining academic recognition. In 1991, he received the Projeto Aplauso trophy and was featured in the documentary series Memória Presente, solidifying his influence in art and movement education.
Portrait of Klauss Vianna in an apartment on Alameda Santos Portrait of Klauss Vianna in an apartment on Alameda Santos (1989) by Juvenal PereiraPortal MUD - Dance Museum
From 1992 to the present
In 1992, the Klauss Vianna Dance School was founded in São Paulo by his son, Rainer Vianna, and former students. Klauss passed away in April that year, and his legacy was posthumously honored with the UNESCO Dance Artistic Merit Medal, received by Rainer.
In October, Rainer danced Reflexões Poéticas, choreographed by Klauss. The show Pica-Pau Brasil, scripted by Klauss, was realized by Zélia Monteiro and Danilo Tomic. That year, Klauss Vianna – Memória Viva honored his legacy with exhibitions and performances.
In 1995, Rainer tragically passed away, leading to the closure of the Klauss Vianna School. Tributes continued, including the Klauss Vianna Showcase in Belo Horizonte and the renaming of the Teatro Telemig in 1996, which was renamed in Klauss’s honor.
From 1997 to 1998, several tributes took place in Brazil
including the Memória em Movimento exhibition and the Mostra Nacional Confort em Dança. The Panorama RioArte de Dança featured exhibitions, lectures, and performances to spread the Vianna family’s influence on contemporary dance.
Portrait of Klauss Vianna in an apartment on Alameda SantosPortal MUD - Dance Museum
In the 2000s, Klauss’s influence was reaffirmed through events like Corpos que Falam (2001), Ciclo Klauss Vianna (2002), and the release of the 3rd edition of A Dança (2005). In Brasília, Funarte inaugurated the Klauss Vianna Room, and the Funarte Dance Award was renamed in his honor.
In 2006, Sesc promoted Territórios da Dança, highlighting Klauss’s pedagogical and artistic legacy. Angel Vianna participated through dance and discussions. Her college honored the family by naming the Klauss Vianna Library and a room after Rainer Vianna.
Portrait of Klauss Vianna in an apartment on Alameda SantosPortal MUD - Dance Museum
The living legacy of Klauss Vianna
"I just want to plant the seed. Once sown in fertile soil, these seeds will spark reactions."
Learn more about Klauss Vianna’s story
Access testimonials from other artists and archival materials on the artist’s Portal MUD.
This story is part of the MOVER MEMÓRIAS project, supported by the FUNARTE RETOMADA - DANÇA 2023 grant.
The texts and collections presented here originate from the project "Klauss Vianna: A Historical Rescue", awarded in 2006 by the Petrobras Cultural Program - Memory of the Arts, directed and created by Paula Grinover.
Curatorship: Neide Neves
Collaboration: Marcia Feijo and Zélia Monteiro
Project Coordination: Talita Bretas
Coordination and Research Assistant: Rúbia Galera
Intern: Pietra Padilha
Archivist: Murilo Armando
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