free entry

École des Maitres / Angélica Liddell

History of madness in the Classic Age of Michel Foucault. The nerve of the crapaud.

11 September| h 9 pm
Teatro India – Sala b

reservation required
The show contains explicit scenes and is recommended for an adult audience.

The École des Maîtres is an international university-level master class, structured in an itinerant form throughout several European Countries all adhering to this shared project; in 2019, it is in its 20th Edition and will be conducted by Spanish dramaturg, director and actress Angélica Liddell. This work with young professional actors is born from a reflection by Foucault on “Madness” – “For it is there, in the heart of the apex of Illuminism, that the Madman ceased being the image of God, ceased being an intermediary between humanity and the sacred, between matter and spirit. It was with the advent of the Classical Era that Man took up Reason and the Madman was robbed of his sovereignty and relegated to punishment, out of the subsequent need of Reason itself”.

According to Foucault, this type of treatment merely consisted of repeatedly brutalising the patient until they were fully integrated into the system of crime and punishment. The Madman is a prisoner, somebody that is excluded from the world of expression.

In this way, the Madman is always condemned, always guilty. They are accused of being mad for a series of aesthetic, moral and social deviations. Or out of heart-ache.

The obscure memory of madness is the sacred. The secret stigma of the alienated reaffirms the persistence of tragedy, the predilection of human nature for fury and anger, the necessities of the Gods and their ire. Uniting disobedience with insanity, banished from social realms and refused all basic respect, under our lunatic disorder runs a river of angst. We are frantic. We invoke irrationality as we sign off on our bestiary.”

Angélica Liddell founded AtraBilis Teatro in 1993, with which she has staged twenty-five works. Her plays have been translated into different languages such as French, English, Russian, German, Portuguese, Polish and Greek.
Her latest works, El año de Ricardo, La casa de la fuerza, Maldito sea el hombre que confía en el hombre, and Todo el cielo sobre la tierra (El síndrome de Wendy), Qué haré yo con esta espada, have been premiered in Festival d’Avignon, Wiener Festwochen and Théâtre de l’Odéon in Paris. Her last piece The Scarlet Letter is in tour during 2019-2020.
She has received the National Prize of Drama Literature 2012 for La casa de la fuerza, awarded by the Spanish Ministry of Culture, the Leone d’Argento of Theatre in La Biennale di Venezia 2013, and she has been condecorated Chevalier des Arts et Lettres in 2017 by the Culture Ministry of the French Republic.

Maître Angélica Liddell
the students of the 28th edition are Federico Benvenuto, Marco Ciccullo, Ksenija Martinovic, Nika Perrone (Italy); Delphine De Baere, Clément Papachristou, Gawel Seigneuret, Olivia Smets (Belgio); Guillaume Costanza, Olga Mouak, Gonzague Van Bervesseles(France); João Gaspar, Marina Leonardo, Rita Morais, Miguel Ponte (Portugal)
Project partners and artistic direction CSS Teatro stabile di innovazione del Friuli Venezia Giulia (Italy), CREPA – Centre de Recherche et d’Expérimentation en Pédagogie Artistique (CFWB/Belgium), Teatro Nacional D. Maria II, TAGV – Teatro Académico de Gil Vicente (Portugal), La Comédie de Reims – Centre Dramatique National, Comédie de Caen –  Centre Dramatique National de Normandie (France)
With the support of MiBAC – Direzione Generale Spettacolo dal vivo, Regione Autonoma Friuli Venezia Giulia – Direzione centrale cultura, sport e solidarietà (Italy)
With the partecipation of Accademia Nazionale d’Arte Drammatica Silvio d’Amico, Short Theatre, Teatro di Roma, ERPAC – Ente Regionale Patrimonio Culturale Friuli Venezia Giulia (Italia); Théâtre de LiègeCentre européen de création théâtrale et chorégraphique, Centre des Arts scéniques, Ministère de la Communauté françaiseService général des Arts de la scène, Wallonie-Bruxelles International (CFWB/Belgio); Ministère de la Culture et de la Communication, Fonds d’Assurance Formation des Activités du Spectacle (France); Universidade de Coimbra (Portugal)