CADELA FORÇA TRILOGY – CHAPTER II: THE BROTHERHOOD

The second chapter of the CADELA FORÇA trilogy is titled The Brotherhood. The Brazilian author and theatre director Carolina Bianchi, along with her company Cara de Cavalo, dives into the complexity of masculinity pacts, the possible origins of brotherhood, and their codes – many of which are inscribed in violence and perpetuate rape and sexual violence as part of their vocabulary. 

Bianchi frames this investigation into contemporary art, especially the theatre context. The aim is far from simplifying the subject: the show acknowledges the admiration that this brotherhood can provoke in us when related to art history, so the text constantly approaches the confusion between aversion to but also fascination with male power dynamics.

Bianchi uses principles of theatre to articulate possible paths for this discussion, creating sticky ties between representation and real trauma, structures of power in art and radical poetry, the origins of misogyny, and a sexuality in crisis. The structure of the show reveals itself as a trap, weakening Bianchi's authorship and transforming her into a phantasmagoria who suffers the consequences of looking at this Brotherhood so closely.

In the first act we see Carolina Bianchi interviewing Klaus Haas, powerful and world famous theatre director. In the second act, a group of male performers takes the stage while more and more Bianchi plays herself as a ghost haunted by her own desires.