ABSTRACT: Taking as its starting point the research on self-representation and the use of biographical material in the theater, the research focused on the figure of the "mother" and the feminine representations in the work of Angélica Liddell, one of the main names of the contemporary scene. , famous for his agency between theatricality and performativity, between art and life. We understand that the question of self-representation and self-writing historically fits into the intersections of theater with performance art, and more broadly, anthropologically, with self-practices, of which the arts are but one example. From the 1970s, the performer's tonic, the action, the scene as experience, give rise to a profusion of works whose object is the body and the biographies of the authors. Within this perspective, we will approach the mother figure, first in Angelica Liddell's work, at the intersection between a royal mother and an archaic mother that we will try to elucidate in the light of Julia Kristeva's concept of abjection and Melanie Klein's matricide. Our hypothesis is that killing the mother assumes the dual and complex function: dislocating the representations of the feminine on one side - as we see in the singular misogynist dialectic of Liddell's work - and engendering modes of resurrection of self through the creative gesture, other. From this perspective, matricide, in its identification and repulsion vectors, became the motto of the authorial processes that make up the main body of this project: "Feminine abject" 1 and 2 and "Stabat Mater". Taking the first two as a laboratory space and the last as a crowning of the path in which the author of this research shares the scene with her true mother and a porn actor, we intend, from these works, to develop the idea of a verticalizing contemporary ob-scene. the discussion about the real already started in the master's degree, but now migrating from an ethnographic real to an obscene real.
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