Carolina Bianchi: The CADELA FORÇA Trilogy. Chapter 1 - The Bride and The Goodnight Cinderella
We are in a space where the present collapses with the past. Resurrecting a performance in an attempt to find clues to an enigma so difficult to name, of a memory so incomplete to touch. What is the void between slip and die? What does this sleeping body dream of? What happens when someone survives?
The first chapter of the trilogy CADELA FORÇA, by the Brazilian director and author Carolina Bianchi, transits through layers of temporalities. Disturbed by the news of the rape and death of an Italian artist Pippa Bacca in 2008 giving a performance related to the belief in human kindness, Bianchi began to weave a tapestry of stories that have in common narratives of rape followed by femicide. In a process of mirroring and confrontation Carolina puts her own body in a performative process of extreme vulnerability falling unconscious in the work at a point undefined. Launching confabulations about sexual violence and art history, her staging is a combination of different references from literature and painting, filled with musical mashups, with modes of delivery part Ted Talk, part choreography, part documentary and dreamscape. Together with her collective, Cara de Cavalo, she creates a journey into an abyss, a hole in the middle of the desert, a dive into a glass of a date rape drink - a descent into hell.
This production includes detailed descriptions of violence against women, femicide, rape and date rape drugs, and a reference to violence against black and indigenous women. It also features a smoke machine, strobe lights, and loud sound.
A welfare support person will be available for audiences onsite. We encourage people who may find the content challenging but still wish to attend to consider coming with a trusted companion.
Recommended for ages 18+
The performance has a dense textual component and is translated into English and subtitled.
Conception, text, dramaturgy and direction Carolina Bianchi
Dramaturgist and partnership in continuous research process Carolina Mendonça
Blackyva, Carolina Bianchi, Chico Lima, Fernanda Libman, Joana Ferraz, José Artur Campos, Larissa Ballarotti, Marina Matheus, Rafael Limongelli
Technical direction, Sound design and original music - Miguel Caldas
Set design and art - Luisa Callegari
Light design - Jo Rios
Videos and screenings - Montserrat Fonseca Llach
Karaoke Video - Thany Sanches
Costumes - Tomás Decina, Luisa Callegari, Carolina Bianchi
Art Assistant and general artistic collaboration - Tomás Decina
Collaboration in body and voice training - Pat Fudyda, Yantó
Dialogue on theory and dramaturgy - Silvia Bottiroli
Translation of texts into English, and revision - Luisa Dalgalarrondo, Marina Matheus, Joana Ferraz, Larissa Ballarotti
Translation to French (subtitles) - Tomas Resendes
Stage manager and production support - AnaCris Medina
Production Metro Gestão Cultural (BR), Carolina Bianchi y Cara de Cavalo
Co-production Festival d’Avignon, KVS Brussels, Maillon, Théâtre de Strasbourg - Scène européenne, Frascati Producties - Amsterdam.
With support by Foundation Ammodo, DAS Theatre Master Program, 3 Package Deal of AFK - Amsterdams Fonds voor de Kunst, NDSM, Over het IJ Festival, Theater der Welt, Kaaitheater (Brussels).
Image © Christophe Raynaud de Lage