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Aos que virão depois de nós — Kassandra in process (2002)
  • Title: Aos que virão depois de nós — Kassandra in process
  • Alternate Title: To those born after — Kassandra in process
  • Holdings: photo gallery
  • Language: Portuguese
  • Date: 2002
  • Location: Porto Alegre, Brazil
  • Type-Format: play, performance
  • Cast: André Luís, Carla Moura, Clélio Cardoso, Diego Comerlato, Luana Fernandes, Marta Haas, Nara Brum, Paulo Flores, Renan Leandro, Roberta Darkiewicz, Sandro Marques, and Tânia Farias
  • Credits: Play by Christa Wolf; Text fragments by Albert Camus, Allen Ginsberg, Arthur Rimbaud, Eurípides, Heiner Müller, George Orwell, North-American Indigenous Peoples, Jorge Rein, Mahabharatha, Pablo Neruda, Peter Hadke, and Samuel Beckett; Ói Nóis Aqui Traveiz, direction, sets, costumes, and props; Gustavo Nakle, trojan horse; Alex de Souza, music; Denise Souza, Edgar Alves, Jeferson Vargas, and Sandra Steil, lighting; Paulina Nólibos, theory consultant; Edgar Alves and Sandra Steil, soundtrack; Maria das Dores Pedroso, crochet

Aos que virão depois de nós — Kassandra in process (2002)

This play is based on a novel by Christa Wolf, in which she recounts the story of the fall of Troy from the female perspective of Kassandra. It is a play about war, but also about civil liberties, about the right to clarity against systems of power organized in hierarchical structures, and about the cruelties suffered by the excluded and the process of exclusion itself with its invisible laws. Why does one start a war? By presenting the audience with death machines, Kassandra incites them to question the values of war and heroism that traverse our culture. What became of these values once we were faced with the horrors of the 20th century? What became of our artistic traditions and their capacity to examine our civilization? In the current context, is the avant-garde — an artistic concept that unmindfully borrows a metaphor from war — anything other than an irresponsible leap forward? Using elements and iconographic material from World War Two, Nazi Germany, and the atomic bombing of 1945, the performance recovers the meaning of an art that doesn't shy away from crucial and painful issues of our time, but rather faces and confronts them in order to better understand them. Conceived as a heterogeneous syncretism of temporalities, Kassandra grounds itself on the ancient tragic archive of the victimized Trojan women, compressing nearly three thousand years of culture into simultaneous and similar gestures: violation, plunder, and the male warmongering imperialism, represented by a phallocracy that pervades Western male behavior and discourse.