TRILOGIE CADELA FORÇA: THE BRIDE AND THE GOODNIGHT CINDERELLA

“... the scope and scale of the piece is astonishing, dragging us through hell and out the other side without ever being gratuitous or graphic in its presentation. Perhaps it is the work’s proximity to death, the very audacity and risk of the thing that creates such a supreme sense of vitality.” The Guardian

In the first chapter of the Cadela Força Trilogy, Brazilian director and author Carolina Bianchi explores whether art can shape and sustain narratives about sexual violence against women throughout the ages by employing elements of theatre and performance art.

Obsessed by the story of the rape and murder of an artist who was making a performance on faith in human kindness, Bianchi began weaving a tapestry of stories of rape and femicide. This tapestry, layered in a way that defies harmony, is interwoven with tales, images, and figures from the history of art, revealing the complexities that pervade the approach to these narratives, where memory is blurred, and trauma is a wound that continually generates new information.

Together with the collective Cara de Cavalo, the author creates a journey into the abyss, a hole in the midst of the desert, a plunge into a glass of Good Night Cinderella – a descent into hell.

We find ourselves in a space where the present collides with the past without prior warning. The performance revives as an attempt to trace the hints of an enigma that is so difficult to name, a memory that is so incomplete. What separates a sleep from death?  What happens when someone survives?