‘The person I hate most is my mother. Because she gave birth to me, I have to walk toward old age and death,” Barcelona-born Angelica Liddell declared during a recent trip to Japan, her dress soft, smooth and elegant in stark contrast to her harsh sentiment.

Born in 1966, the world-renowned playwright and director takes her stage name from that of Alice Liddell, Lewis Carroll’s real-life inspiration for the central character in his classic 1865 novel, “Alice’s Adventures in Wonderland.”

This year, however, sees Liddell venturing to Japan with the Atra Bilis Teatro (meaning Black Bile Theater) company she founded in Madrid in 1993 — to share her rage and doubts with Festival/Tokyo audiences in November, as well as delighting them with her self-made costumes that grace the strangely simple but surreal set of “All the Sky Above the Earth (Wendy’s Syndrome).”

First staged in 2013, “Wendy’s Syndrome” is a musing about the loss of youth in which three islands form the motif: Neverland, which appears in J.M. Barrie’s early 20th-century books and plays about an ageless boy named Peter Pan; Utoya in Norway, where 69 people, mostly teenagers, were killed in July 2011 by an ultranationalist terrorist; and those on which much of Shanghai is built in the Yangtze estuary.

Explaining the inclusion of the latter, Liddell said, “When I lived in China, I couldn’t understand the culture or language, and Shanghai felt like an isolated island — while the elderly people I saw dancing the waltz in the street were full of a tenacity to recover their youth.”

However, describing “Wendy’s Syndrome” as an exploration of the mind of a woman who meddles in others’ business for fear of being left alone, Liddell explained, “Peter Pan forces Wendy into the role of housekeeper and childminder until, as she grows older, he stops being attracted to her and brings her daughter to the island.

“In my mind, stupid Wendy’s resentment at being tossed aside connected with the hatred the shooter on Utoya felt for the young people he killed.”

In the second half of the play, Liddell uses her own voice and body to expose what she terms “the myth of motherhood” and “people neglected by the system” — conditions of banishment whose victims clarify the structure of society as determined by convention.

“I hate confident people who are content with the existing value system,” Liddell said in no uncertain terms.

Among its fascinating variety of music, the play features the lyrics to “House of the Rising Sun,” a 1964 hit for The Animals that painfully voices the feelings of prisoners in jail. Liddell also admitted to being “captivated by the music in the Korean film ‘Oldboy,’ and asking its composer, Jo Yeong-wook, to write a waltz for this work.”

However, as Liddell also cites among her key influences films and literature “depicting the conflict of the human soul — such as Yukio Mishima’s novels, the works of U.S. authors Herman Melville and Nathaniel Hawthorne, the Greek tragedies, Shakespeare and the Bible” — “Wendy’s Syndrome” presents a deep theatrical experience that has drawn critical acclaim all over Europe.

“Wendy’s Syndrome” (in Spanish with Japanese and English subtitles) runs Nov. 21-23 at Tokyo Metropolitan Theatre in Ikebukuro. This story was written in Japanese and translated by Claire Tanaka.

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