This article offers an analysis of the last part ofTrilogía del Infinitoby Angelica Liddell, Génesis 6, 6-7, related to the question of gender. This show, created by a female artist who founded her own company and triumphs on inter-national stages, tackles specifically feminine themes such as maternity (in the mode of the obscene and the horrible), in particular through the theme of infanti-cide –represented in the play by the figure of Medea. The show also deconstructs the usual binary codes in the configuration of female and male identities, in par-ticular through the treatment of the body on stage. Envisaged in its different tex-tual and scenic aspects, the play is analyzed in the light of the concepts of inter-textuality, intermediality, intersemioticity and performativity, in order to define the specificity of the dramatic andscenic language of Angelica Liddell. It therefore appears that in this spectacle, in which there is very few spoken text, Angelica Liddell’s aesthetic and identity quest goes through other modalities and leads to the invention of a specific language whichrenews the tragic modality in the pre-sent era and it is part of the general tendency of female dramaturgies and sce-nographies of the late twentieth and early twenty-first centuries to deconstruct, center, and sometimes even transgress and subvert the models imposed by pa-triarchal society to create new ones, more in line with individual feelings and the present. For the Spanish performer, this quest also involves an exploration of the religious which corresponds to the search for a transcendence necessary for the fashioning of her own identity as well as that of a collective meaning.