MALDITO SEA EL HOMBRE QUE CONFÍA EN EL HOMBRE: UN PROJET D'ALPHABÉTISATION

Thanks to the theatre, I organise the pain and I understand it

- ANGÉLICA LIDDELL

Angélica Liddell has the look of smouldering terrorism, the mouth full of frenzied sparks, the orgasmic groan which saddens, the ashes inhabited by tears.

- LUIS MARÍA ANSÓN, EL CULTURAL

After her acclaimed appearance in 2009 at the Festival de Otoño with La casa de la fuerza, a production which was performed with great success at the 2010 Festival d'Avignon in France, where it caused a revolution, Angélica Liddell this time returns to Las Naves del Español de Matadero Madrid for the world premiere of her latest work, Maldito sea el hombre que confía en el hombre: un projet d'alphabétisation - which is both visual and psychologically powerful as well as being once more critical, controversial and startling.

"I feel a profound disgust for all of us, I feel sad for the planet which has to bear the burden of so many undeserving people," explained Angélica Liddell herself. Maldito sea el hombre que confía en el hombre: un projet d'alphabétisation is a direct consequence of La casa de la fuerza. It is what is left after the massacre, what is left after the pain. And what is left, of course, is a lack of trust. How many letdowns are needed in order to separate oneself from the idea of humanity? How many worthless people do you have to know in order to plead that no more children are born into this world?

In Maldito sea el hombre que confía en el hombre: un projet d'alphabétisation Liddell once again works with artist Enrique Marty, responsible for creating the sculptures for the work, following their collaboration in Perro muerto en tintorería.

www.angelicaliddell.com