Rising Festival, Malthouse Theatre, until June 15. The lines that linger in the mind aren’t the most famous; they’re the ones where the poet describes not remembering how he arrived in a “dark wood” before his descent into Hell:when I first strayed, leaving the path of truth.
We know Brazilian director, playwright and actress Carolina Bianchi will self-administer a date rape drug known in her homeland as “Goodnight Cinderella”. We know she will fall unconscious. We know she’ll be penetrated vaginally by a camera while she’s out of it.All of which is misleading – not because these events don’t happen, but because the most extreme moments in Bianchi’s performance art are essential to a profoundly considered response to the most extreme forms of violence against women.
There’s woozy karaoke to Brazilian pop. Bianchi openly confesses that she despises Bacca’s artistic choices. Her intellectual distance leans into poetic musings on the struggle to find a performance style fit to address her own rape, of which she has no recollection. Bianchi is as ingenious as Philomela from ancient Greek myth in finding a way to speak to abject violation.
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