Two great reviews have been published in the past few days that do a great job of addressing what happens onstage in Te haré invencible con mi derrota. Here they are:

"Te haré invencible con mi derrota: The Question of Pain" - Seattlest

Over the weekend I received a number of responses in my inbox about Te haré invencible con mi derrota. There are quite a few more that were posted in direct response to other audience reviews, so be sure to check them all out. Here are the ones from my email:

By Davora Lindner

Te haré invencible con mi derrota is an intense and abstract conversation between the Spanish artist Angélica Liddell and the deceased British cellist Jacqueline du Pré (1945-1987). Liddell converses with the dead, because as she explains in the performance program, “I did not want to talk with living people. The living had defrauded me, deceived me, terribly.”

Just a quick reminder that there is no performance this evening. The box office will, however, be open regular weekend of show hours (3-6pm).

Well.

I am not sure what to say- or how to say anything in a coherent way, so I won't try.
I'll just write.
 

Well, I don’t really know where to start with this, so please bear with my stream of consciousness reviewing style. I never really understood or had an affinity to performance art of the blood and guts variety. I just completely did not comprehend how the body could be a medium or material for something. Plus I didn’t understand why people were so mad. I was just like, wow! Doesn’t that hurt? Hey, lighten up girlfriend! It’s not so bad! And then one day I realized, holy shit…it actually IS that bad. It’s so bad that I can’t even fucking believe it.

This show is what my last Saturday night looked like.  I am kidding of course, but also I am not,  I cannot experience art without projecting myself onto it.  Which I won't apologize for because I feel it is the very best way to experience art.  It allows us to trespass the boundaries between ourselves and others and also the fortresses we build to bury parts of ourselves away.  Luckily for us Angélica Liddell also projects.  She has projected her time of crisis onto the tragedy of Jacqueline du Pré and then projects it out for all of us.