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ANGELICA LIDDELL (1966 - ) |
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Nationality: Spanish Email: n/a Website: n/a |
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Literary Agent: n/a |
Angelica Liddell (Figueres, Girona, 1966) graduated from the Universidad Autónoma of Madrid with a degree in Psychology and in Dramatic Art from the Real Escuela Superior de Arte Dramatico of Madrid, receiving both qualifications in 1992. Her work includes prose, poetry, installations and theatre scripts. She has been a director with the Atra Bilis Theatre Company since 1993, with whom she has directed most of her plays, and where she also performs as an actress. Her theatre scripts include the following plays: La falsa suicida [A Faked Suicide] (2000); Y los peces salieron a combatir contra los hombres [And the Fish Set off to Fight Against Men] (2003); El ano de Ricardo [Ricardo's year] (2005) and Belgrado [Beograd] (2007). She has received awards from the Casa de America Innovative Dramaturgy Prize, 2003; the Ojo Critico Prize of the Second Millennium, 2005, for her career as a whole; the Notodo Audience Prize for the best performance in 2007 and the II Valle-Inclan Theatre Prize, 2008.
Adaptation / Translations of Plays by Angelica Liddell
Dead Dog at Dry Cleaners: The Strong | ||
| 1st Produced: | - - - | - - - | ||||
Organisations: | n/a | |||||
| 1st Published: | electronic text: Caos Editorial (2009) | ISBN/ASIN: | - | |||
| Music: | - | doollee no | #96796 | |||
To Buy This Play: | If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies | |||||
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Genre: | Translation | |||||
| Parts: | Male | 3 | Female | 3 | ||
Parts other: | - | |||||
Notes: | Original Playwright - Angelica Liddell | |||||
Synopsis: | Dead Dog at Dry Cleaners: The Strong is an incredibly powerful, hugely theatrical and disturbingly topical expression of a Europe emptied of values by an obsession with state security, the erosion of shared rituals and the loss of any sense of human, shared, felt reality. Culture has become a commodity to be guarded, the Enlightenment has returned to bite and perhaps the unbearable urgency of love is all that can save us . . . . | |||||
Further Reference: | - | |||||
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