Conception, text, dramaturgy and direction: Carolina Bianchi / Dramaturgist and partnership in continuous research process: Carolina Mendonça / Cast: 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: João 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 (surtitles): Thomas Resendes / Photos: Christophe Raynaud de Lage / Car construction: Xavier Rhame, Lionel Petit, Philippe Bercot, Mathieu Audejean, Pierre Dumas, Miguel Caldas, Luisa Callegari, João Rios / Production assistant: Ella de Gregoriis / Production Direction and Tour Manager: Carla Estefan / International Management and Diffusion: Metro Gestão Cultural (Brasil)
Carolina Bianchi y Cara de Cavalo
The Cadela Força Trilogy: Chapter I – The Bride and The Goodnight Cinderella
- Theatre
Recommended for the age of 18 years up
Brazilian Portuguese / With German and English surtitles / approx. 150 mins.
Brazilian Portuguese / With German and English surtitles / approx. 150 mins.
In her work, theatre maker Carolina Bianchi weaves together literary, pop-cultural and art-historical references, and incisively questioning the state of affairs. In the first part of her trilogy “Cadela Força” (“Bitch Strength”), Bianchi deals with the recent history of sexualised violence against women. In the process, she puts herself in a state of utmost vulnerability by taking knockout drops – called “Goodnight Cinderella” in Brazil and also used in Germany as a rape drug. While recounting the femicide of performance artist Pippa Bacca, Bianchi finally loses consciousness. Along with eight performers from her collective Cara de Cavalo from São Paulo, Bianchi explores what an unconscious body without memory can tell us while connecting to the reality of many survivors. Following its premiere at this year’s Festival d’Avignon, the new work can now be seen in Berlin.
“This all-too-real performance single-handedly jolted Avignon alive over the first week of the festival, turning Bianchi – an unknown, Amsterdam-based artist – into a sensation at the event.” Laura Cappelle, The New York Times, July 12, 2023
Cast
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Dates
Past
Further Information
Visitor note
Credits
Production: Metro Gestão Cultural, Carolina Bianchi y Cara de Cavalo. Co-production: Festival d’Avignon, KVS Brussels, Maillon, Théâtre de Strasbourg – Scène européenne, Frascati Producties – Amsterdam. Supported by: Goethe-Institut.
The show premiered on July 6, 2023 at the Festival d’Avignon.
Location
HAU1
Stresemannstr. 29, 10963 BerlinThere are two marked parking spots in front of the building. Access to the Parkett by means of a separate entrance with lift when necessary. Barrier-free restroom facilities are available. Tickets for wheelchair users and accompanying persons can be booked via the ticketing system. If you need any help, please contact our Ticketing & Service team at +49 (0)30 259004-27 or send us an email totickets@hebbel-am-ufer.de.
