The trilogy Casio Tone (1997), Subtone (2001) and Tritone, by Sílvia Real, is one of those cases whose fascination can only increase with each chapter of this free, coherent project, one of the most imaginative in Portuguese dance […] The most immediate thing that can be said about Domicília is the recognition of its burlesque references, from Buster Keaton to Jacques Tati. But this would reduce Sílvia Real's entire project to a tone of postmodern farce which, if not absent, does not encompass the entirety of her discourse. The quote is ten years old, but it still applies: “Sílvia manipulates the discourse and adds multiple meanings to it. (...) On an apparently banal discourse, she weaves another discourse, complex and filled with humour, which ironizes and subverts the former” (Maria de Assis, Movimentos Presentes, 1997).

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Tiago Bartolomeu Costa, Público, January 1, 2007

Happy or unhappy?

She is neither happy nor unhappy. Amid her scrupulously thought out and executed routine, she does not live her life – she complies with it. She simply lost the ability to assess her state of mind. This woman who does not read —except for “Reader's Digest Selections” — who does not listen to elevator music, be it good or bad, and says that Ginger Ale is her favorite drink, laughs only once in the series' three solos. There is a spasm of happiness when she plays with her Casio Tone.

Alienated

She is a woman in her thirties who does not age, like Tintin and Anita. Having no depth, she does not question herself, does not learn, has no expectations. She keeps making excuses to avoid facing problems. She would rather simulate a beach inside a beachfront hotel room than have her feet in the sand. The enjoyment of living with the fake is one of the main characteristics of her personality.

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Lucinda Canelas, Público, January 12, 2007