ARCHIVES 2013 / Todo el cielo sobre la tierra (El síndrome de Wendy)

“Though nothing can bring back the hour / Of splendour in the grass, of glory in the flower / We will grieve not, rather find / Strength in what remains behind.” These verses by William Wordsworth read by Natalie Wood in Elia Kazan's film, Splendour in the Grass, punctuates, like a leitmotif, Angélica Liddell's All the Sky above the Earth. Wendy's Syndrome. Wendy is the character Peter Pan takes to his island. Here, the island isn't called Neverland, the imaginary country, but Utoya, the Norwegian island where 69 young people, who were shot to death by Anders Breivik in 2011, were condemned to never grow old. The best of worlds, perhaps. In this work, Angélica Liddell incarnates a Wendy terrorized at the idea of being abandoned. That however is her fate, she who is incapable of any feelings other than love. “Loving is feeling abandoned at every moment. Genuine love is always sexual, mortal.” Whether she is an adult on Utoya, the island of eternal youth, or a foreigner in Shanghai, the land where the children of promise are born, Wendy is alone. As for Peter Pan, if he is the child who doesn't want to grow up, he is also the one who doesn't have a mother; so much the better, because he detests them. Angélica Liddell's Wendy also feeds on a violent hate for mothers and refuses to be one, even if to fulfil this desire she must give up the “supplement of dignity” that you acquire in taking on this maternal role. Far from mothers, families, clans and other herds, Angélica Liddell makes the stage an island. She peoples it with Indians, crocodiles, musicians, children without children and Peter Pan, who don't want to grow up, old people who don't want to stop dancing... In the vain hope of deceiving hate, feat and solitude. “Though nothing can bring back the hour / Of splendour in the grass, of glory in the flower / We will grieve not, rather find / Strength in what remains behind.” CV