João Manuel de Oliveira, researcher in Gender Studies, Critical Sexuality Studies and Feminist Theory, writes about notforgetnotforgive by Carlota Lagido: “The performance can be read as a positioning about the importance of inscription in an increasingly amnesic world. This refusal to forget and consequently to forgive is linked to a denial of collectively shared memory. In notforgetnotforgive, this amnesia is refused and deconstructed through politics of memory, with possible autobiographical readings present in the work of Carlota Lagido. Boys in the backroom, originally sung by Marlene Dietrich, echoes a political claim, in favour of the inscription of a woman, of a historical period, of a cinematic memory that embodies this work. We are, therefore, in the presence of a play that not only recalls but also proclaims a position in a world dominated by sound bytes. notforgetnotforgive refocuses this world on an aesthetic of intransigence with the moral/istic figure of forgiveness. Instead, its rejection of forgiveness seeks to make us think about our standing and our alliances…”