Angelica Liddell locks herself in her pain

What is expected of Angélica Liddell is to surprise, provoke, disconcert. Her voice is radical, but that is precisely what has made her a relevant artist on the international scene. His last show, Creepy, it does not disappoint in that sense, but this time the confusion reaches such a point that the spectators who attended its premiere in Spain, last Saturday within the Girona High Season Festival, they practically did not applaud at the end of the function, which is extremely rare in this country. Like it or not like a play, the audience applauds with fervor, especially when it comes to sacred names like Angelica Liddell. Just in case. We will see what happens at the Madrid Autumn Festival, where it is presented this weekend.

On Creepy, the creator pushes her allergy to complacency to the limit. Possibly he even had foreseen that there would be no applause, as he leaves the stage with a gesture that says “there you stay” and does not come out to say hello. It is a cryptic spectacle, loaded with images of great plastic beauty but difficult to decipher, especially because she does not give clues and does not say a word. None of those furious soliloquies that he launches as if he is exorcising his demons and with which he usually leaves his audience nailed. Sometimes even charging at him. But not talking is a frustration. Just a few phrases by Manuel Agudamientos projected on a screen. The first: “Flamenco, I don’t know how to explain it. I have suffered a lot. If you haven’t suffered, what flamenco are you going to sing ”. We deduce then that everything that comes after is pain. The terebrante pain: that produces a sensation similar to that of a drill piercing the painful or diseased part. The pain of flamenco crossed with that of Angélica Liddell. Physical pain: a video of a tooth extraction so bloody that it is impossible not to cover your eyes. Animal pain: a hen is plucked, there is a carcass open lamb. Dolor Liddell: in the last part of the montage, the artist indulges in a long alcoholic self-flagellation ceremony in which she lets us see how she enters its depths, but does not let us accompany her like other times. Hence the disappointment. Absolute secrecy.

Flamenco is in the background. There are no singers or clappers or aesthetic references. Just some guitars that have just been crushed and some enea chairs. Another compliment from Liddell. There you stay.

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