Martin Crimp’s 17 scenarios for the theatre, shocking and hilarious by turn, are a rollercoaster of 21stcentury obsessions. From ethnic violence to pornography, from terrorism to singles vacations…. itsstrange array of nameless characters attempt to invent the perfect story to encapsulate our time and takecontrol of the narrative.

A frantic new ensemble play that bombards the stage with an overload of information, possibilities, formsand content, performed by an international cast that desperately attempts to make sense of a senseless world.

Since its premiere at the Royal Court Theatre, London, in March 1997, Attempts on Her Life has beentranslated into more than 20 languages.

DIRECTOR’S NOTES

Who is Anne?

We started working in this production asking this question to ourselves. This huge question. Huge as the world itself. As life.

What is Anne?

Wanting to answer this question. Wanting to get rid of this question. Looking for something to resolve the question. To make it explode. To blow it up. Away. For an answer – yes, exactly – we were looking for answers.

Where is Anne?

At the same time, however, we were totally aware that we would not find those answers. That there’s no such thing as a valid answer. We can’t provide the right answers – that’s right – we can only attempt to ask the right questions.

When is Anne?

Attempts on our life was written in 1997, and we discovered, throughout this process, that the words in it, Martin Crimp’s words, questions -yes- questions, might be even more important now than then. Questions that make us face a mirror. That comment on our society, on how language manipulates us, on how we narrate ourselves into the world, on art, on theatre itself. On life. The world. The state of the world. Our world. The one we know. Again, huge.

But how is Anne?

Yes, how? How? How are we supposed to know? Yes, that’s right, how? How are we supposed to know anything if nothing can be solved? If nothing makes sense? If nothing is right? In the end, I think that what this play, this unsettling, witty, at times hilarious, overwhelming and deeply devastating, yes, theatre piece is encouraging us to do, is to attempt to ask the right questions. Who are we? What are we? Where are we? When? And perhaps yes, perhaps the most important question of all.

How are we?

Jordi Casado i Olivas