THE MAGNIFICENT TREMOR
THE MAGNIFICENT TREMOR
“This is a story about ghosts and vampires and very angry women and very nasty men and witches who started what we call “world” flying above our head. This a story about rolling heads and very tired women and a child who knows the secret of the face of god, of the face of the devil. This is a story about the sadistic relation, the S&M relation we have with people who have fucked with us historically. This is also a love story.” [Carolina Bianchi]
Direction, dramaturgy and conception: Carolina Bianchi
On stage and collaborating on creation: Danielli Mendes, Joana Ferraz, Larissa Ballarotti, Chico Lima, José Artur Campos, Marina Matheus, Tomás Decina and Carolina Bianchi
Direction assistance and participation on the scene: Luisa Dalgalarrondo
Production direction: Jasmim Produção Cultural
Executive production: AnaCris Medina and Lu Mugayar
Light: João Rios
Original music: Miguel Caldas
Sound design: Miguel Caldas and Joana Flor
Soundtrack research: Carolina Bianchi
Technical assistance and production: João Gabriel OM, João Duarte and Felipe Marcondes
Costumes: Antonio Vanfill
Art direction: Tomás Decina
Art assistance and costumes: Lu Mugayar
Photos: Mayra Azzi
Graphic design: Érico Peretta
Videos: Thany Sanches
Video record of process and piece: Clara Cavour
Special effects: Gustavo Saulle
PR and communication: José Artur Campos
Research and witchcraft confabulation of all kinds: Carolina Mendonça and Rodrigo Andreolli
Satanism and fundamental synapses: Gabriela Amaral Almeida
Support: Atos de Fala Festival, Simpatia257, O Andar, Espaço Multiartístico Capital 35, Estúdio Fita Crepe, Fazenda Santa Esther, Oficina Cultural Oswald de Andrade, Henrique Lima’s place, Fernando Frahia and Teatro de Contêiner
Carolina Bianchi Y Cara de Cavalo Production
> Premiered on March 4th, 2020 | The season was interrupted due to the Coronavirus pandemic.
> The way this work exists today is through Libretto | THE MAGNIFICENT TREMOR
THE MAGNIFICENT TREMOR is Carolina Bianchi Y Cara de Cavalo's latest work. It premiered in March 2020 at Teatro de Contêiner in São Paulo.
The work makes use of a symbolic, symbiotic and disordered universe to dive into this contradictory and irreconcilable relationship with the past.
On stage are Danielli Mendes, Larissa Ballarotti, Marina Matheus, Joana Ferraz, Tomás Decina, Chico Lima, José Artur Campos and Bianchi herself, who created a four-cycle dramaturgy, with four jumps in time. The nature of horror cinema, Sadian literature, Virginia Wolf’s Orlando and Emily Dickinson’s poetry are among the sources of research in this work.
We started from two crucial points for this new work: first, the notions of past and time that are allocated in our bodies. How do we deal with this accumulation of information from Eras, splinters of past in our bodies and in our subjectivity? The other point that guided the research of The Magnificent Tremor is how History can’t handle women considered violent.
It seems to us a contradiction that the woman is cruel, because the hegemonic historical narrative is patriarchal and highly dangerous for women. We should be docile, in order not to be annihilated. Everything that is considered monstrous in women is what men can't control. - says Carolina Bianchi.
The Magnificent Tremor is an erratic attempt to blur some senses of historical linearity, mixing fictional and real facts. It summons monsters, queens, ghosts, bloodthirsty countesses and dead poets, who cross each other in a historic, violent and wet mashup.
“It seems illogical that time operates in eternal cycles that are repeated, at the same time that History presents gaps that do not seem possible to fit in a chronology, in the sequence of facts as we know. We live together with thousands of ghosts from this and other times. All the time, we negotiate this feeling of having experienced the present, because in fact we are facing events that seem to repeat issues from 50, 500 years ago.” [Carolina Mendonça]
The work uses an understanding of history to irresponsibly rearrange the trajectory of the human being as carnage of horror, ecstasy, agony, of the impossible desire to remain in language, and of the scare of the inevitable repetition of death.
During the months of rehearsals, there were some residences for creation and sharing of practices involving The Magnificent Tremor. These laboratories were given the name “The Diabolic Language”, where the material was being stirred and turned over by many presences and in many places.
LIBRETTO | THE MAGNIFICENT TREMOR
This is the first time that Carolina Bianchi's texts have been edited in a publication. The libretto is a small piece of art that contains images, texts that are in the work, texts that didn’t make it to the piece, and also texts produced by the perfomers of the work during the rehearsal process. Photographer Mayra Azzi, Bianchi's partner, also collaborates on the book with several photographs of the play's rehearsals. The graphic design of libretto is by Érico Peretta and the edition is by Marina Matheus.