Description

Don Juan, a frustrated predator, but also a man in revolt against the established order, religion.<div> In 1665, after Louis XIV, under pressure from religious zealots, banned Molière's troupe from performing Tartuffe, he decided, on the advice of his actors, to hastily write a play on a fashionable theme: Don Juan. This theme of the eternal seducer has since been revisited and interpreted in countless ways; even in Molière's play, he can be seen as a frustrated predator, but also as a man rebelling against the established order and the religion he inherited, like his name.</div><div><br></div><div> Molière goes beyond the theme of the unrepentant seducer, Don Juan, eternally dissatisfied, seems more libertarian than libertine. Even though he evokes his amorous conquests, he doesn't present him as a triumphant seducer but rather as a spoiled, rebellious child, more against the religion of men than against God himself, a spoiled brat who will shrink from neither the sword nor the cross. In a way, he foreshadows the individual who would assert himself in 18th-century theater.</div><div><br></div><div> In this production, we follow the author's desire to break with the strict rule of the three unities of classical theatre. The characters, in timeless costumes, move through each act in different sets, created by small, ambiguous figures resembling the Furies, who are attached to the deeds, misdeeds, and actions of Don Juan.</div><div><br></div>