Going Back to the Place of the Sores

Following her encounter with Carolina Bianchi and Cara de Cavalo’s performance Trilogia Cadela Força – Capítulo I: A Noiva e o Boa Noite Cinderela , Anna Parsons examines the piece’s charged negotiation of vio-lence, risk, and spectatorship, looking to the qualities of opacity and volatility that shape the act of witnessing. She traces how the work unsettles prevailing ideas of safety, consent, and healing through its dialogue with feminist performance practices. Moving across psychoanalysis, performance studies, and critical theory, this study offers a way of thinking through dramaturgy that demands a collective, sustained proximity to what is disruptive; a process that can generate different, and hopefully more potent, response and action.