‘Rape as ultimate love token’
- De Morgen

You are my destiny

(Lo stupro di Lucrezia)

Angélica Liddell

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A rapist and his victim, who are meant for each other: the controversial Catalan theatre maker Angélica Liddell proposes a decidedly different interpretation to the classic story of Lucretia than we’ve known. To Ovid and Titus Livy, her rape by crown prince Tarquinius marked the birth of the republic; to Shakespeare, her suicide was an act of fidelity. However, in Liddell’s universe spiritual passions and carnal desires find their way unrestrained by laws or morals. In her story, Lucretia commits suicide to be able to continue her love relationship with Tarquinius when they end up in hell. Her rebellion exposes the mediocrity of political ambitions and the stifling demand on women to be virtuous.




What is the weak spot of a rapist? Can a woman long for the man who assaulted her? How are we restrained by our laws and morals from acting out our deepest desires? Exploring the age old story of the rape of Lucretia, the Catalan writer, director and performance artist Angélica Liddell ventures into the inexplicable and hazardous realm of our passions, with You are my destiny (Lo stupro di Lucrezia).

Liddell bases her performance on the classical story of Lucretia, as recorded by Livy and Ovid. After Lucretia, the wife of the Etruscan general Collatinus, has been raped by Tarquinius, the king's son, she commits suicide to save her honour. Her action provokes her family to start a revolt that overthrows the monarchy and leads to the establishment of the Roman Republic.

Through the ages, many artists have been inspired by this myth, ranging from Shakespeare to the painters Titian and Rembrandt as well as the composers Handel and Britten. Now, the controversial Angélica Liddell follows in their footsteps. However, she does not focus on the political struggle (the toppling of the despotic royal family), as the Romans did, nor does she deal with Lucretia's suicide as an act of matrimonial fidelity, as in Shakespeare's sonnet The Rape of Lucrece.

Nor is she interested in the position of the woman as the underlying party, victim of the uncontrolled lusts of man, as many modern interpretations do. Liddell intentionally chooses to interpret the story from the perspective of the irrepressible desire of Tarquinius to rape Lucretia, another man's wife, whilst Lucretia, stuck in her marriage and restrained by society's demands of how to behave, suffers from an incapacity to enjoy her sexual appetite as well. In Liddell's version, the sacrifice she brings, her suicide, does not replace love, but rather is the expression of it. She does not look for meaning in terms of a moral or social order, but approaches the story from the perspective of the human passions underlying these sexual excesses. According to her, the convulsions of the soul have nothing to do with what's just or unjust; weakness is what defines human nature and our carnal desires and need for love will find their way irrespective of any laws or morals.
In You are my destiny, the rapist Tarquinius and suicide Lucretia meet each other again in hell and enter into a love relationship. It's their rebellion against the vacuous and superficial demands of virtue and political correctness which control life on earth and which made it impossible for them to pursue their desires.

The play is performed by twelve young men (7 Italian actors, 4 Spanish actors and one from The Netherlands), a Ukranian singing trio, Liddell's close collaborator the actress Lola Jiménez and Liddell herself, as well as 10 children. Having met the Italian and Spanish actors at a Shakespeare workshop which Liddell gave at the Venice Biennial in 2013, she wanted to take them into her company straight away. During that same stay in Venice, she encountered the Ukranian trio, singing at the foot of Rialto Bridge. In the performance, their ritual Ukranian songs, which are normally performed at weddings or funerals, reinforce the torments which Tarquinius and Lucretia must endure. In the performance we also hear Handel’s Cantata la Lucrezia, countered by Paul Anka’s You are my destiny. Venice, where the seed for the performance was sown, plays an important role in the production, represented, amongst others, by a golden stage version of the Doge's Palace. Ecclesiastical miniatures from the fourteenth and fifteenth centuries symbolise the human search for the holy.

As with all Liddell's works, You are my destiny explodes with excitement, expressing her immense commitment. Written in a brutally poetic language, her pieces identify what's wrong with our society, which requires us to cover up our illicit passions and politically incorrect animosities. In Liddell's world we experience quite the opposite: her stage is a place for artists to freely release their demons and discuss everything in the open, more so than anywhere else.

You are my destiny (3) breed


With her controversial brand of performance theatre – powerful, intense and often dark – the Catalan writer, director and performance artist Angélica Liddell (1966, Figueras, Spain) unsettles both friend and foe. She has built up a loyal following of admirers, but equally there's also an audience which find her work too confrontational. Having described her own work as 'pornography of the soul', she creates theatre in which she speaks out, 'blows up the walls of indecency' and puts under the microscope sensitive issues such as intimacy and pain.
Having studied psychology and dramatic arts, Liddell established her own company Atra Bilis Teatro (Black Bile Theatre) in 1993. For years she and her company performed in alternative venues of the underground scene. They won many prizes but were hardly able to make a living, until in 2010 she got her break-through at the Festival d'Avignon. Since then, she has attained international status as a theatre maker. Often connecting personal pain with world politics, she exposed the murders of women and children in the Mexican city of Juarez in La Casa de la Fuerza (2009) and warned about the effects of killing free expression, castigating the Cultural Revolution in China under Mao and the lack of response from the Americans in Ping Pang Qiu (2012). El Año de Ricardo, her adaptation of Shakespeare's Richard III, was a furious outburst against all forms of political abuse of power. In Todo el cielo sobre la tierra: el sindrome de Wendy, Peter Pan's Wendy did not land in never-never land, but on the Norwegian island of Utøya, where Anders Breivik unleashed his bloody carnage in 2011. Liddell's work does not offer any straightforward stories, but bombards her audience with material to relate to. Using dance, theatre, performance art, music and video, she draws extensively from Christian and philosophical traditions, exploring the limits with her actors and musicians – often performers without any formal education. Liddell's works have been staged at the Amsterdam theatre Frascati and at the Amsterdam Stadsschouwburg. In an interview she has said of her work: 'I have been afraid that the audience wanted to throw a grenade at the stage. People want theatre to be comfortable, to offer a cosy atmosphere. But my form of theatre is the very opposite of that: my work disturbs.'

You are my destiny (1) half breed You are my destiny (2) half breed


text, direction, set and costumes design
Angélica Liddell
Joele Anastasi, Fabián Augusto, Ugo Giacomazzi, Julian Isenia, Lola Jiménez, Antonio L. Pedraza, Andrea Lanciotti, Angélica Liddell, Borja López, Emilio Marchese, Antonio Pauletta, Roberto de Sarno, Isaac Torres, Antonio Veneziano
Ukrainian choir
Free Voice (Anatolii Landar, Oleksii Ievdokimov, Mykhailo Lytvynenko)
translation Italian text
Marilena de Chiara
Carlos Marquerie
Antonio Navarro
Pipa & Milagros
lighting technician
Octavio Gómez
technical director
Marc Bartoló
direction assistant & stage manager
Julio Provencio
production and logistics
Mamen Adeva
production manager
Gumersindo Puche
Carolina Rivas
executive producer
Iaquinandi, S.L
associate producer
Prospero (Théâtre National de Bretagne – Rennes, Théâtre de Liège, Emilia Romagna Teatro Fondazione, Schaubühne am Lehniner Platz, Göteborgs Stadsteater, World Theatre Festival Zagreb, Festival of Athens and Epidaurus)
Odéon-Théâtre de l’Europe, Festival d’Automne à Paris, deSingel Internationale Kunstcampus, Holland Festival, Le-Parvis Scène Nationale Tarbes Pyrénées, Comédie de Valence - Centre dramatique national Drôme-Ardèche
with support by
Comunidad de Madrid and Ministerio de Educación, Cultura y Deporte – INAEM.
Hartelijke dank aan Àlex Rigola en Biënnale van Venetië voor het mogelijk maken van de ontmoeting met de acteurs. Deze productie zou nooit hebben bestaan zonder hen.

This performance was made possible with support by