Angélica Liddell does not want to be buried, but devoured: "If I die right now, throw me out so they can quarter me and eat me," she said this evening in the conversation that closed the first day of the Biennial of Thought. "I would like to be a victim of cannibalism. Deep down, eroticism has a lot of cannibalism in it. That there would be nothing left to bury, that it would remain in stomachs, that it would pass into the blood, into the cells," Liddell insisted, who spoke with writer Luna de Miguel to present her first novel, The Silk Road (Malas Tierras), and the poetry collection Pido el fin de la vida (La bella Varsovia). If not, she would like to end up in the Montparnasse cemetery, where she visits role models like Marguerite Duras, Samuel Beckett, Baudelaire and Cioran, "with a tombstone that says nothing." "Although it doesn't matter: even if my name is on it, no one will know who I am," she lets slip.

Greta wants to commit suicide It is one of the first works by a young Angélica Liddell and the first to win one of the many awards that would follow, the Ciudad de Alcorcón Theatre Prize in 1988. Since then, death and suicide as a final poetic act have been omnipresent in the intense stage production of the artist born into the artist. In fact, her last two acclaimed shows revolved around her own funeral –Voodoo (3318) Blixen, in 2023 – and that of Ingmar Bergman –Dämon. Bergman's Funeral, in 2024–. The creator delivers one or more shows per year, so now she premieres in Temporada Alta Sepukku. Mishima's funeral or the pleasure of dyingwhich would close a false trilogy that resonates, and how, with suicide as one of the fine arts and death as the artist's aesthetic ideal.

In these times of virtual queues and Tickets that disappear in a few minutesThe Temporada Alta festival experienced an unusual situation at the end of summer: tickets for the two performances of the show Seppuku. Mishima's funeral, Tickets for Angélica Liddell's show sold out in just four minutes. "I thought the system was malfunctioning. It's never happened to us before," explains Narcís Puig, director of the Girona festival. The feat was even more remarkable because the artist was inviting the audience to the Salt Theatre at an unusual hour: 5:30 in the morning, both for the premiere of the work this Saturday and for the performance this Sunday.

Playwright, director, and performer Angélica Liddell (Figueres, 1966) was awarded the National Theater Prize, awarded by the Ministry of Culture and endowed with 30,000 euros. The jury particularly praised her performance. Dämon. Bergman's Funeral, that It could be seen at last year's Grec Festival and which made Liddell the first Spanish artist to open the prestigious Avignon Festival. The show "encapsulates a critical way of working, which makes no concessions and invites reflection and debate," says the jury. Other pieces by the Figuere-born artist also stand out, such as Voodoo (3318) Blixen and Terebrant, with which, she says, "she has consolidated a career as a playwright, director and performer defined by a language of enormous risk and quality, which has confirmed her as a reference both inside and outside Spain for contemporary stage creation."

After sweeping through Barcelona again with Voodoo (3328) BlixenAngélica Liddell will once again give her world premiere at the Temporada Alta festival in the fall. Seppuku It will be a celebration of ritual suicide and a tribute to Yukio Mishima (1925-1970) that will unite eroticism, beauty and death, ingredients typical of the theatricality of the Spanish artist - and more so in the funeral trilogy which will close with this show, after having staged his own and that of Bergman.