A muscular person in red posing trunks flexes on stage facing a golden wall, while a person in white sits on the floor nearby with an IV stand and bags.
Two people in traditional Japanese attire sit on the floor against a textured golden wall; one, in dark clothing, embraces the other, who is wrapped in a white robe, both with serious expressions.
A person in a white dress stands with arms raised and head tilted back, illuminated by warm light against a textured gold background.

Angélica Liddell: Seppuku

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ABOUT

Angélica Liddell almost never performs in the United States, which makes Seppuku a rare and urgent occasion. The Spanish artist steps into charged company with Yukio Mishima, the Japanese writer who pursued beauty and extremity to their outer edge, and finds in him a kindred pursuit of the erotic, the transcendent, and the unbearable.

Made with Japanese collaborators and rooted in Japanese ritual, the piece is less a performance than an ordeal, a ceremony pushed to the far limit of what a body and an audience can hold. Liddell is among the most uncompromising figures in performance anywhere, and Seppuku is her at full force: raw, excessive, exalting, a reckoning with desire, violence, beauty, and transcendence.

ADVISORY
Contains nudity, blood, and themes of suicide

RUN TIME
2 hours

Three reasons to go

PREVENT THE FOMO – A rare U.S. appearance by one of Europe’s most singular theater artists, whose work commands intense attention across major international festivals.

GENRE-DEFYING – A ceremonial encounter with Mishima’s legacy, staged with Japanese collaborators and grounded in ritual form.

SPECTACULAR – Theater as ordeal and rite, for audiences who want to be confronted rather than reassured.

THE ARTIST

Angélica Liddell

Angélica Liddell

CREATIVE CREDITS

Presentation: Kunstenfestivaldesarts, KVS
Direction, text, set design and costumes: Angélica Liddell
Performers: Alberto Alonso Martínez, Nonoka Kato, Angélica Liddell, Masanori Kikuzawa, Ichiro Sugae, Gumersindo Puche, Kazan Tachimoto
Lighting design: Javier Alegría
Technical director: Maxi Gilbert
Lighting operator: Francisco Jesús Galán
Sound: Antonio Navarro
Stage machinist: Fernando Díaz
Stage manager: Elena Galindo

Set construction: Alfonso Reverón Díaz
Logistics: Micaela Ferrer
Production: Gumersindo Puche
Assistant producer: Jaime del Fresno

Includes excerpts from the texts Patriotism and The Sailor Who Fell from Grace with the Sea by Yukio Mishima. Adaptation of the Noh theatre play Hagoromo (“The Feather Mantle”). 

Coproduction: Festival Temporada Alta, Théâtre national de Strasbourg, Wiener Festwochen – Freie Republik Wien, Festival Grec, Odéon – Théâtre de l’Europe

GALLERY

PRESS

Full of power, irreverence, and freedom.

Le Monde (on SEPPUKU) Le Monde (on SEPPUKU)

The show transforms suicide into a poetic ritual, between mystical fervor and intimate vertigo.

Olivier Frégaville-Gratian d’Amore, 2026 (on SEPPUKU) Olivier Frégaville-Gratian d’Amore, 2026 (on SEPPUKU)

BEYOND THE STAGE

Culturally curious? We’ve got you. For each NYU Skirball production, we create extracurricular engagement resources to support the University’s larger academic mission. Whether you’re a student at NYU or a student of life, please explore our Prep School study guides, scholarly essays by NYU faculty, and online artists’ conversations to learn about our artists, their creative process, and all kinds of insights into the shows.

SUPPORT

NYU Skirball’s programs are made possible in part with support from the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature; and the Howard Gilman Foundation; Dance Reflections by Van Cleef & Arpels; Culture Ireland; The Shubert Foundation; Collins Building Services; General Delegation of the Government of Flanders to the USA; Goethe Institut New York with support from the Foreign Office of the Federal Republic of Germany; Norwegian Ministry of Foreign Affairs; Gladys Krieble Delmas Foundation; Fan Fox & Leslie R. Samuels Foundation; New England Foundation for the Arts; Harkness Foundation for Dance; and Marta Heflin Foundation; as well as our valued donors through memberships, commissioning, and Allies for Arts Access Fund support.