Anna falls in love and, at that very moment—like a premonition she herself senses—death begins to hover over the entire story. It’s clear that Tolstoy had read Flaubert, as Anna repeats the very same words spoken by Emma Bovary when she decides not to be trampled on any longer: “everything is a lie, everything is deceit, everything is falsehood, everything is evil.” Like Emma, the path to happiness will cost her life.
This hypocritical society will not allow her to do what they themselves might wish to do but never dare.

Because—who is Anna at the moment she leaves her husband and her child?
Why are we always “the woman” instead of being “women”, different and intertwined by an unjust and shared history that spans the entire planet?
What do each of us project when we look at a woman’s body?

But as Heiner Müller’s Ophelia says, we will no longer kill ourselves;
we will not stick our heads in ovens, nor take pills, nor jump out of windows, nor slit our wrists.
We will shout endlessly that there is a place where happiness is possible for all of us.

Carme Portaceli

Set design
Alessandro Arcangeli
Paco Azorín

Costumes
Carlota Ferrer

Lighting
Ignasi Camprodon

Video
Joan Rodón

Live production
Martín Elena

Characterisation
Imma Capell

Movement and choreography
Ferran Carvajal

Musical composition and sound space
Jordi Collet

Sound
Carles Gómez

Assistant director
Kike Gómez

Costume assistant
Laura Cans

Student trainee director
Noa Navarro

Set design construction
Pascualin Structures

Ground painting
Jorba - Miró. Estudi - Set design workshop

Costume design
Goretti Puente, Inés Mancheño and Antonia Pérez

Production
Teatre Nacional de Catalunya, KVS de Brussel·les, International Theater Amsterdam

Technical and management teams of the TNC