Carolina Bianchi confronts masculinity in The Brotherhood.
What is masculinity? With The Brotherhood, Carolina Bianchi and her company Cara de Cavalo explores the relationship between masculinity and brotherhood. But what does brotherhood look like? What makes it an attractive pact? Who is allowed to be part of such a pact? And if the bro-code belongs to men, are women immune to it?
The Brotherhood does not offer ready answers, but serves a compelling invitation to self-reflection. In this second instalment of the Cadela Força trilogy about sexual violence, the Brazilian Bianchi fearlessly digs into the roots of patriarchy and misogyny. She examines personal and collective intersections between sexual violence, art and theatre history, and the body. By invoking geniuses to critique power structures in the arts, Bianchi operates on the boundary between repulsion and fascination. In this tension between emancipation and submission, The Brotherhood holds up an uncomfortable mirror to its audience. As she says herself: ‘I tackle the themes that obsess me with uncompromising honesty.’
Carolina Bianchi is internationally acclaimed for her commanding stage presence and the raw power of her texts. The first part of the trilogy, The Bride and the Goodnight Cinderella, premiered at the Festival d’Avignon, won the Silver Lion for Dance at the Venice Biennale, and shook the European theatre landscape to its core.