Theatre maker Carolina Bianchi disconcertingly shows how power systems facilitate and normalise sexual violence. Together with the collective Cara de Cavalo, Bianchi explores the origins of brotherhood and the often violent 'brotherhood codes' between men that come with it.

Trilogia Cadela Força - Capítulo II: The Brotherhood

What does 'masculinity' mean? What’s the appeal of 'the brotherhood'? And who is part of this pact? Don’t expect answers, but rather a head-on confrontation with patriarchal structures and our role in maintaining them. Bianchi links representation with real trauma, power structures in art with radical poetry, and explores how misogyny and a crisis in sexuality play off each other. The piece unfolds like a trap: as Bianchi uncovers the brotherhood, she herself becomes a character who suffers the consequences of her view on this system.

The Brotherhood triggers strong emotions, presses where it hurts, and has us reflect on the role violence plays in our society and the ways we help perpetuate it, whether we're aware of it or not.


The first part of the trilogy, A Noiva e o Boa Noite Cinderela (The Bride and the Goodnight Cinderella), had its world premiere during the Festival d'Avignon, was nominated for a Theo d'Or for the most groundbreaking stage performance and made the Official Jury Selection of the Dutch Theatre Jury. The show was awarded Best Foreign Premiere of the 23/24 season in France by the Le Prix du Syndicat de la Critique, and Carolina won the Silver Lion of the Biennale di Venezia 2024/25.