One of the most important Argentine authors and directors on the contemporary international scene, Rafael Spregelburd brings a contemporary Cassandra to the stage, in a tense confrontation between rationality and prophecy, cause and effect, order and delirium.

Diciassette cavallini is based on the myth of Cassandra, approached in two diametrically opposed parts. The first part, L’Oracolo invertito, is “Apollonian”, linked to the figure of the god Apollo and a conventional dramatic structure, and features a modern Cassandra who claims to be able to predict future misfortunes, while her psychoanalyst tries to dismantle her certainties. The second part, I diciassette cavallini, is “Dionysian”, dominated by the delirium of the god Dionysus: the actors construct a theatrical game that unfolds in reverse, so that the audience first witnesses the effects and then reconstructs the causes backwards. This inverted structure, realised in a choreography in 17 movements – like the number of soldiers emerging from the belly of the Trojan horse – gives rise to a poetic hypothesis: to find answers to questions that have not yet been asked.
Spregelburd rejects the traditional cause/effect sequence, proposing instead a dramaturgy that takes the form of the complex causality that governs our lives. The theme arises from discussions with the actors, who expressed the utopian desire to look to an uncertain future. Tragedy, understood as a straight line towards destruction, thus becomes a tool for accessing the present, for investigating space and time in their non-linear reality, for confronting all the catastrophic events that collide every day with the apparent unidirectionality of life.