It is a monster that we see and hear in this show. A monster in every meaning of the term. It is first of all a man who takes shape in a woman: inspired by Shakespeare's Richard III, Ricardo is incarnated by Angélica Liddell herself, accompanied by an almost mute Catesby on a stage that is gradually peopled with ghosts. In Ricardo/Richard are concentrated the excesses of power, the abuses of tyranny, the servility of the individual and the baseness of society. And his hunchbacked body is as monstrous as his speech: "I have the teeth of a horse and hoofs as feet!", he tosses out at the beginning of the play. It is a sick body, and moreover, because the pills of all sorts that he clamours for from his faithful Catesby have disaster effects on him: vomiting, vertigo, thirst, bleeding... So he imposes his suffering on the others, spreads the reign of fear around him. He must have a party, regardless of whom, since "the world is no longer divided into ideologies. It is divided into rich and poor." The monster is also the one who questions normality. This insolent despot digs into the wounds and contradictions of democracy. By giving the floor to the representation of power, Angélica Liddell questions us. She inhabits a cynical character who clamours at anyone who will listen that his authority is based on the fear and egoism of everyone. To this ambiguous monster, she lends a body that is sometimes feverish, sometimes helpless, and an exaggerated, deformed, changing voice. And when the frenzy gives way to exhaustion, the horror reappears ever greater, the monster regains strength. CV
Distribution
director, scenographer, costumes and text by
Angélica Liddell
lighting Carlos Marquerie
with Angélica Liddell, Gumersindo Puche
Production
production Atra Bilis Teatro / Iaquinandi SL
avec le soutien du Gouvernement régional de Madrid et de l'INAEM du Ministère de la Culture espagnol