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 " Needless to say, the performance by Carolina Bianchi should be a landmark in the history of the Avignon Festival and mark the memory of the public. "

Le Monde

CADELA FORÇA chapter one
A Noiva e o Boa Noite Cinderela


Cadela Força chap one Carolina Bianchi y Cara de Cavalo

© Christophe Raynaud de Lage

 ★★★★ "As the show expands, beautiful and grisly, Bianchi becomes not just a sacrifice to illustrate the story, but a physical symbol of the burden of her research. The rigour slackens a little later on but 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

"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. On the night I attended, one woman broke down in sobs on the way out. I felt nauseated at several points, as if “The Bride and the Goodnight Cinderella” had tapped into my own fight-or-flight instinct."

NY Times

We are in a space where the present collapses with the past, without early warning. 


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? How to go through this fragmentation between memory and dream, between imagination and feasible reality? What is done with all this information? 

What happens when someone survives?


The first chapter of the theatrical trilogy Cadela Força, by the Brazilian director and author Carolina Bianchi, transits through layers of temporalities. A bunch of layers of corpses of women. Since she was disturbed by the news of the rape and death of an artist 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. 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 rape drink - a descent into hell. 

Cadela Força chap one Carolina Bianchi y Cara de Cavalo.jpg

© Christophe Raynaud de Lage

From Theatre Der Welt:

(German Premiere of Cadela Força)


Carolina Bianchi works through rape stories that happened in the recent decades. For this, she places herself in a position of maximum vulnerability. While she reports on how the performance artist Pippa Bacca was raped and murdered during one of her performances in 2008, Bianchi ingests a drink with knockout drops. Under the influence of the rape drink (also known as “Goodnight Cinderella”), she becomes sleepy and eventually unconscious. Bianchi’s personally motivated performance outlines boundaries that many survivors of abuse have to face. What are the possible narratives for an unconscious and “memoryless” body? And will this body ultimately be forgotten in the theater as other scenes, rituals and dialogues play out?

>>Certain scenes may offend the sensibilities of spectators.

Cadela Força chap one Carolina Bianchi y Cara de Cavalo.jpg

© Christophe Raynaud de Lage

Ficha Técnica/ Credits


Nome da Peça: Trilogia Cadela Força: Capítulo 1- A noiva e o Boa Noite Cinderela

Name of the piece: The Cadela Força Trilogy: Chapter 1 - The Bride and the Goodnight Cinderella

Genre: Theater

Duration: 150 minutes (with no intermission)

Artist: Carolina Bianchi y Cara de Cavalo

Country: Brazil/ Netherlands


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, Larissa Ballarotti, Marina Matheus and 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



Tomás Decina, Luisa Callegari, Carolina Bianchi


Art assistant and general artistic collaboration

Tomás Decina


Dialogue on theory and dramaturgy

Silvia Bottiroli


Artistic collaboration 

Edit Kaldor (tutor at DAS theatre)

*Translation of texts into English and revision 

Luisa Dalgalarrondo, Marina Matheus, Joana Ferraz e Larissa Ballarotti


*The text of this spectacle was also built from many conversations with writings of many authors. We highlight the collaboration of the actress Blackyva in her text in the second part of the show, an excerpt by Renan Marcondes and his text Foto Fantasma e os presentes da performance, Nathalie Léger and her book The White Dress, the bibliography of Roberto Bolaño, writings of Saidiya Hartman and the work of the anthropologist Rita Laura Segato.


Collaborations in body and voice training

Pat Fudyda



Car construction

Xavier Rhame

Lionel Petit

Philippe Bercot

Mathieu Audejean

Pierre Dumas

Miguel Caldas

Luisa Callegari

João Rios


Stage manager and production support

AnaCris Medina

Production director and Tour manager

Carla Estefan

International management and diffusion

Metro Gestão Cultural (BR)


Production: Carolina Bianchi y Cara de Cavalo, Metro Gestão Cultural (Brasil)

In coproduction with: Festival d’Avignon, KVS Brussels, Maillon, Théâtre de Strasbourg - Scène européenne, Frascati Producties (Amsterdam). 

> The show premiere on the July 6th - 2023 at the Festival d’Avignon

Residency to finalize the piece and set construction: La FabricA, Festival D’Avignon

Residencies: Frascati Theater, DAS Theatre (Amsterdam), Festival Proximamente/KVS (Brussels), Festival 21 Voltz/Central Elétrica (Porto), Pride Festival (Belgrade), Greta Galpão (São Paulo) e Espaço Desterro (Rio de Janeiro).


With support of: Ammodo, DAS Theatre Master Program, 3 Package Deal of the AFK - Amsterdams Fonds voor de Kunst / Coalition: DAS Theatre, NDSM and Over ’t IJ Festival, Kaaitheater.

Cadela Força chap one Carolina Bianchi y Cara de Cavalo.jpg

© Christophe Raynaud de Lage

The language of corpses

                                                                Luísa Dalgalarrondo*

         Frankenstein always comes to my mind when I think about Carolina Bianchi: the terror, the passion, the being that is alive, but is also kind of dead, all the creator vs. creature implications. Giving birth to a new creature out of the past. Out of the dead.

         When I was giving birth to my child, I tried very hard to fight the pain, to use every meditation exercise I knew to deal with it. At some point, I understood I had to go through the pain. To let myself fall into the pain, into the vortex of the pain and cross it to the other side. Like someone who goes through a desert. You cannot ignore it, you cannot avoid it, you don’t simply deal with the desert. Bianchi is going through a desert here.

Bianchi developed most of her work in an environment of intense precarity, mostly without any sort of funds, and surrounded by a political context that puts art workers and women constantly in their target. Her work is also moved by the desire to survive this reality. And she is not alone in this attempt. Some of the people in this project have been working with her since the Dark Ages, but many of them came around through workshops or classes coordinated by Bianchi. The intensity of her passions put into practice in these situations creates a sort of magnetism that makes people want to keep exploring with her, creating images with her.

         Bianchi is always giving birth to vertiginous images. Images, images, images. It could be said that her recent works were all built in frames, but I believe “layers” can describe them better. Layers as a structure of something that comes to cover what was recently seen, often blurring the lines that seemed to be defined by the anterior layer.

         CADELA FORÇA is a bunch of layers of corpses of women. And then, it is also a bunch of layers of things that are covering those women. How do we touch a dead body? How do we approach a crime scene? Isn’t the whole world an immense crime scene played in a loop in space in the end? Is it possible to communicate through the language of corpses?

         As she intends to do this “autopsy” in CADELA FORÇA, Bianchi is not exactly a coroner – I cannot imagine her separating pieces and cataloguing them until she arrives at an unequivocal answer. It wouldn’t be honest to present a solution. She is not going to explain or represent what happened. Ever. But what happens if she flirts with an impossible revenge? Not to achieve it, but to see what happens. What if she attempts an impossible resurrection? What if she survives?

         Bianchi will not solve a crime here. CADELA FORÇA will not prevent any future crime. But maybe this work will open a new dark hole in space and it will swallow everything. Maybe not.



Luísa Dalgalarrondo é pesquisadora, integrante do Coletivo Cara de Cavalo e colaborou com o processo de criação do trabalho "Capítulo 1 - Trilogia Cadela Força - A noiva e o Boa Noite Cinderela". Esse texto foi escrito para a brochura de apresentação dos trabalhos de conclusão de mestrado na DAS - Academy of theater and dance, em 2022.

cadela força carolina bianchi y cara de cavalo a noiva e o boa noite cinderela.jpg

© Christophe Raynaud de Lage

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