As the Festival d’Automne brings international performing arts to the French capital this September, Brazilian artist Carolina Bianchi arrives at the Odéon Théâtre de l’Europe in Paris with A Noiva e o Boa Noite Cinderela. The production—the first chapter of her Trilogia Cadela Força trilogy—tackles the realities of gender-based violence, historical bodily performance, and the mechanics of trauma through a deeply confronting theatrical language.
The Bottom Line
- The Venue: Presented by the Festival d’Automne in Paris in corealisation with the Odéon Théâtre de l’Europe through late September and early October.
- The Concept: Conceived, written, and directed by Carolina Bianchi, the production combines body art, performance history, and a stark critique of violence against women.
- Audience Support: Organizers have partnered with the psychological and legal support association “Elles imaginent” and established a dedicated “safe room” in the Petit Odéon.
Tracing the Roots of Body Art and Resistance
Opening at the Odéon Théâtre de l’Europe on September 23, A Noiva e o Boa Noite Cinderela operates at the intersection of performance art history and harrowing contemporary critique. According to festival documentation, Bianchi begins the piece by ingesting a mixture of sedatives and vodka—substances colloquially known in Brazil as a noiva e o boa noite cinderela (the bride and the goodnight Cinderella drug). Dressed entirely in white, her costume serves as an explicit homage to Pippa Bacca, the performeuse who was murdered in 2008 while hitchhiking from Italy to Jerusalem in a bridal gown.
By rendering her own body inert on stage, Bianchi reactivates Regina José Galindo’s 2016 performance Sieste while invoking the broader lineages of body art pioneered by figures like Marina Abramović. Once Bianchi is asleep, fellow performers—including Larissa Ballarotti, José Artur Campos, and Joana Ferraz—interact with her immobile form. The production explicitly draws a line from Renaissance representations of violence, such as Botticelli’s Nastagio degli Onesti where a woman is pursued by hounds for refusing a suitor, to modern atrocities like the murder of Eliza Samudio.
Production Scale and International Touring Infrastructure
The staging arriving in Paris represents a collaborative and logistical undertaking across European and South American arts institutions. Produced by Metro Gestão Cultural (Brazil) and Carolina Bianchi Y Cara de Cavalo, the production’s journey to major festival stages was forged through residencies at institutions including La FabricA du Festival d’Avignon, Frascati Amsterdam, and the KVS Koninklijke Vlaamse Schouwburg in Brussels, alongside support from the Ammodo Foundation and the Amsterdam Fonds voor de Kunst (AFK). Having originally premiered on July 6, 2023, at the Festival d’Avignon, the production now anchors the autumn calendar in Paris alongside subsequent chapters of the trilogy, The Brotherhood and Uma Luz Cordial.
| Category | Details |
|---|---|
| Premiere Date | July 6, 2023 (Festival d’Avignon) |
| Paris Venue | Odéon Théâtre de l’Europe (Odéon Paris 6) |
| Key Collaborators | Larissa Ballarotti, Carolina Mendonça, Miguel Caldas, Luisa Callegari |
| Associated Trilogy | Trilogia Cadela Força (Parts: A Noiva, The Brotherhood, Uma Luz Cordial) |
Navigating Spectator Trauma and Institutional Care
Recognizing the intense nature of the material, the Festival d’Automne has integrated support systems into the run at the Odéon. According to official venue communications, the specialized psychological and legal support association “Elles imaginent” will be present during integral performances and specific chapters to assist anyone facing trauma triggers or distress. Additionally, a dedicated “safe room” has been established in the vestibule of the Petit Odéon for attendees requiring a space to decompress.
Complementing the performances, the venue is hosting a series of free public encounters, lectures, and dramaturgical introductions—including discussions on choreographic self-defense and the broader theoretical framework of the trilogy. As the curtain rises in Paris, Bianchi’s mantra of “Fuck Catharsis” challenges both the stage and the auditorium to refuse easy resolutions.
