TAMBÉM SE MATAM CAVALOS (Horses are also killed)

In Brazil, for nine decades, there was a mental hospital, the Hospital Colónia de Barbacena, where marginalized people, gays, women, political enemies of the elite, homeless alcoholics, unwanted children, wanderers, epileptics were locked up next to people diagnosed with mental health problems and all received the same brutal treatment instituted by a system that didn't want them. More than 60,000 people died in what has been called the Brazilian Holocaust. These social sanitizations continue to exist, subjectivities are killed, blacks, the poor, refugees, women, transvestites, dreamers and activists are killed.

In this play, Cavalcanti constructs an escape.

What if four fugitives from this hospital are on the road, sharing a common pact? What if they think they're a rock band on tour? What if they're hiding in an abandoned garage or building, rehearsing for a concert but without instruments? Who are these people, what do they feel, how do they relate to each other? What are the boundaries between madness and imagination? How to keep thoughts

and bodies free like a child who is not (yet) conditioned as a social and productive being?

Cavalcanti wanted to make a play that would move people. He likes to think of his mother when he makes plays, imagining a better world for her, for the people he loves and even for the people he doesn't know. How do you materialize that in a dance

Horses are killed when they are no longer useful to human beings, as if something or someone had to be useful. This piece is about a herd of horses running free in the open countryside, exhausted but happy; they don't know they're going to die in the war. This play is an exercise in freedom.