Carolina Bianchi / Cara De Cavalo & Metro Gestão Cultural / KVS

The Cadela Força Trilogy Chapter 1 – The Bride and the Goodnight Cinderella

The Cadela Força Trilogy
The Cadela Força Trilogy

21.09 – 22.09.2023

Do you know any women who, long after surviving a rape, have confided in you about their abuse? What did they tell you? What do they remember? Do you know about Pippa Bacca, the Italian artist who was raped and murdered while on tour?  

Carolina Bianchi works from rape stories and also draws from art and literary history. In a theatrical language that balances from lecture performance to visual ensemble theatre, Bianchi brings these experiences and stories to life. The result exists somewhere between memory and dream, between imagination and a tangible reality. She engages physically, by exposing herself to the influence of a rape potion (known in Brazil as Boa Noite Cinderela or Goodnight Cinderella). 

Her amnesiac body then turns her into a character amid the scenes in which the players of her collective get to work with material from Roberto Bolano's masterpiece 2666. A haunting performance, an attempt to find clues to what is so difficult to name, an ode to memory that is incomplete. 

Carolina Bianchi is a Brazilian theatre director, playwright and performer. She has been based in Amsterdam since graduating from the DAS Theatre master's programme but continues to work with her collective Cara de Cavalo ("the face of the horse"). She mixes literary, art and cinematic references in her work, which is situated between theatre, performance and dance. Her research addresses issues such as gender in crisis, sexual violence and art history. 

Presented by Kaaitheater x KVS 

conception, text, dramaturgy and direction Carolina Bianchi | dramaturgy & partnership in Research Process Carolina Medonça | cast Black Yva, Carolina Bianchi, Chico Lima, Fernanda Libman, Joana Ferraz, José Artur Campos, Larissa Ballarotti, Marina Matheus & Rafael Limongelli | technical direction, sound design & original music Miguel Caldas | set design and art Luisa Callegari | light design João Rios | videos and screenings Montserrat Fonseca Llach | karaoke video Thany Sanches | costumes Tomás Decina, Luisa Callegari, Carolina Bianchi | art assistant & general artistic collaboration Tomás Decina | dialogue on theory and dramaturgy Silvia Bottiroli* | translation to English and revision Luisa Dalgalarrondo, Marina Matheus, Joana Ferraz & Larissa Ballarotti | translation to French (subtitles) Thomas Resendes | collaborations in body and voice training Pat Fudyda, Yantó | car construction Xavier Rhame, Lionel Petit, Philippe Bercot, Mathieu Audejean, Pierre Dumas, Miguel Caldas, Luisa Callegari, João Rios | stage manager & production support Anacris Medina | production direction & tour manager Carla Estefan | international management & diffusion Metro Gestão | cultural production Carolina Bianchi & Cara De Cavalo & Metro Gestão | cultural coproduction Festival D’Avignon, KVS, Le Maillon, Théâtre De Strasbourg – Scène Européenne & Frascati Producties Amsterdam | residency to finalize the piece & set construction La Fabrica, Festival D’Avignon | residencies Frascati Theater, Das Theatre (Amsterdam), Festival Próximamente/KVS (Brussels), Festival 21 Voltz/ Central Elétrica (Porto), Pride Festival (Belgrade), Greta Galpão (São Paulo) & Espaço Desterro (Rio De Janeiro) | with the support of Ammodo, Das Theatre Master Program, 3 Package Deal From The Amsterdams Fonds Voor De Kunst/ Coatilion: Das Theatre, Ndsm & Over ‘t Ij Festival & Kaaitheater 

*The text of this creation was also co-constructed through many conversations and from writings by many authors. We would like to highlight the collaboration with actress Blackyva, and specifically her input for the text in the second part of the play; an extract from Renan Marcondes and his text 'Foto Fantasma e os presentes da performance'; Nathalie Léger and her book 'The White Dress'; Roberto Bolaño's bibliography; the writings of Saidiya Hartman and the work of anthropologist Rita Laura Segato.