Carolina Bianchi y Cara de Cavalo
Trilogie Cadela Força – Chapitre I : A Noiva e o Boa Noite Cinderela
novembernov 6 – 8
© Christophe Raynaud de Lage ©
© Christophe Raynaud de Lage ©
© Christophe Raynaud de Lage ©
Wednesday november 6
20h
Thursday november 7
20h
Friday november 8
20h
Conceived, written, dramaturged and directed by Carolina Bianchi. Translation for surtitles Larissa Ballarotti, Luisa Dalgalarrondo, Joana Ferraz, Marina Matheus (english), Thomas Resendes (french). Dramaturgy and research Carolina Mendonça. With Alitta, Carolina Bianchi, Chico Lima, Fernanda Libman, Joana Ferraz, José Artur, Larissa Ballarotti, Marina Matheus, Rafael Limongelli. Technical direction, original music and sound Miguel Caldas. Scenography Luisa Callegari. Lighting Jo Rios. Video Montserrat Fonseca Llach. Karaoke video Thany Sanches. Costumes Carolina Bianchi, Luisa Callegari, Tomás Decina. Artistic collaboration Tomás Decina. Collaboration on body and voice training Pat Fudyda, Yantó. Dialogue on theory and dramaturgy Silvia Bottiroli. Production and stage management support AnaCris Medina. Production, tour management and communications Carla Estefan. International distribution Metro Gestão Cultural, Brazil.
Production Metro Gestão Cultural (Sao Paulo), Carolina Bianchi Y Cara de Cavalo
Coproduction Festival d’Avignon ; KVS (Bruxelles) ; Maillon Théâtre de Strasbourg – Scène européenne ; Frascati Producties (Amsterdam)
Residencies La FabricA du Festival d’Avignon ; Frascati (Amsterdam) ; Festival Proximamente – KVS (Bruxelles) ; Festival 21 Voltz – Central Elétrica (Porto) ; Pride Festival (Belgrade) ; Greta Galpão (São Paulo) ; Espaço Desterro (Rio de Janeiro)
With the support of Theater der Welt – Frankfurt Offenbach ; The Ammodo Foundation (Amsterdam) ; DAS Theatre— Master Program (Amsterdam) ; 3Package Deal – Amsterdam Fonds voor de Kunst ; Kaaitheater (Schaarbeek) Coréalisation La Villette – Paris ; Festival d’Automne à Paris
With the support of Fondation Calouste Gulbenkian – Délégation en France
In partnership with La Déferlante
La Villette and the Festival d'Automne à Paris are presenting this show in co-direction.
Carolina Bianchi: ‘Dealing with the desire for violence‘
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Like descending into the darkest depths of hell, Carolina Bianchi exposes the unspeakable horror of sexist violence, plunging us into a median space in which all memory becomes blurred. Following in the footsteps of the artist Pippa Bacca, she uses her own body for the purposes of the piece, thereby anchoring herself in the history of feminist performance, and casting a critical gaze upon it at the same time.
Is this a waking nightmare? A slippery slope into hell? A noiva and Boa Noite Cinderela (The Bride and the Goodnight Cinderella) tackles head-on the indescribable nature of misogynistic violence by unveiling before us a porous space, between two distinct worlds. In this first part of the Cadela Força (Strength Slut) trilogy, the Brazilian director and performer Carolina Bianchi starts off as a historian of feminist performance, before turning into a Sleeping Beauty who has ingested the rapist's drug and now lies unconscious. Half-awake, she makes her way across a graveyard of women who have been raped, tortured and killed. Pippa Bacca is the first of them, the Italian artist who suffered this same tragic fate while doing a performance as a hitchhiker in a wedding dress. Entering into a genealogy of female artists, she explores, by means of a posture of extreme vulnerability, the sexist violence which makes up the myths of our civilization. The Cara de Cavalo collective becomes the vehicle for this violence. The theatre it conjures up probes deep into the depths of a fragmented memory, on the frontier between reality and fantasy, and with no possible catharsis.
In the same place
Sorour Darabi, DEEPDAWN One Thousand and One Nights
Sorour Darabi, the Iranian choreographer, who has been living in France since 2013, unveils his first opera, an ambulatory performance which enables voices marginalized by ancient myths to be heard. It is a piece devised by and for committed bodies.
Théo Mercier Skinless
Brought to the stage by visual artist Théo Mercier, Skinless is a disenchanted Eden built on a landscape of rubbish. Amidst this XXL end-of-the-world panorama, an out of the ordinary couple loves and tears each other apart under the watchful eye of a tragic observer.
Romeo Castellucci, Esa-Pekka Salonen, Gustav Mahler Symphonie No. 2 “Résurrection” With the Paris Orchestra
Directed by Romeo Castellucci, Gustav Mahler's Resurrection symphony seems to take on all its tragic grandeur. Masterfully conducted by Esa-Pekka Salonen, the Italian director magnifies this monumental work in order bring us a funereal “song of the earth” from which nobody emerges unscathed.
Marlene Monteiro Freitas, Ballet de l’Opéra de Lyon Canine Jaunâtre 3
Following on from the Portrait dedicated to her by the Autumn Festival two years ago, Marlene Monteiro Freitas hijacks the match: twenty-five virtuoso performers, each wearing the same number 3 vests, throw the score into disarray, measure themselves against the grotesque and warp the game. This show sees the eccentric choreographer passing on to the Lyon Opera Ballet a jousting match of hybrid times, a carnivalesque fresco in which the human, animal and machine have a tendency to merge.