CAÍN is a ‘neotrash’ piece featuring the body, words and movement of a single performer on stage. It’s an arrogant rant on frustration, creation and Redbull.
Cain is a symbol that mocks self-fiction. Using the legend as a starting point, questions are asked about the relation between ancestrality (tragedy, theatre, repetition) and contemporaneity (‘trashedy’, performance, washing machines).
Evil structures the world; pain is the cudgel of power. If there is no talking, violence is perpetuated. Tears and laughter are two sides of a single phenomenon: understanding, that is, communication, that is, contagion. Fleeing solitude is a public and, at the same time, intimate act. We want to stop feeling so lonely.
Nina Orsini arises from the remains of trashèdia AP-7, a theatre company formed between hell and the motorway that attempted to tense the aesthetics of the stage in order to apply a sharp knife to the spectator’s gaze.
In the company of Rita Capella i Margarit, Quim Palmada Belda and Eduard Olesti, Nina Orsini is this: an unexploded bomb on the motorway between Barcelona and Fortià, like a corpse smoking a cigarette while waiting for the dawn.
