Distribution
With the troupe of the Comédie-Française
Alexandre Pavloff Gusman, Mathurine, Don Carlos, La Violette, Don Louis, Ragotin and the Statue of the Commander
Stéphane Varupenne Sganarelle
Jennifer DeckerElvire, Charlotte, the Statue of the Commander and a specter
Laurent Lafitte Dom Juan
Adrien Simion Gusman, Pierrot, La Ramée, un pauvre, Don Alonse, M. Dimanche, La Violette et la Statue du commandeur
Emmanuel Daumas Stage director
Radha ValliSet and Costume Design
Bruno Marsol Lighting
Dominique Bataille Sound
Cécile Kretschmar Makeup and wigs
Vincent Deslandres Artistic collaboration
Presentation
Written by Molière to counter the ban on Tartuffe, this mythical play opens with Dom Juan fleeing Elvira, whom he has distracted from her vows of devotion to God. He constantly terrifies his faithful valet, Sganarelle, by dint of his seductions and desertions, driving a beggar to blasphemy, making a mockery of his father’s principles, and even daring to make a sacrilegious invitation to the statue of the Commander he once killed. A true cloak-and-dagger play magnified by Molière’s writing; Dom Juan was an extraordinary success at its premiere in 1665 as a “machine play”: here it is performed by the troupe of the Comédie-Française.
Show moreEmmanuel Daumas returns to the essence of the play with this Dom Juan for five performers, set and costumes uncluttered. He returns to the theater of tréteaux, embracing the grandeur of the myth of this libertine atheist who, at the center of a world of lies and illusions, bets on life. “Molière paints a baroque reverie, a Spanish comedy, where a man in the eye of the storm of an unreal world, not always so far from our own, invents his life so that it has no limits. So harping on dogma won’t be enough to stop him. We’ll have to bring out the heavy artillery, the witchcraft and the marvellous… The machinery of theater. The illusion of Hell.”
Programme
Comedy in five acts first performed at the Palais-Royal in Paris in 1665.
Performed in French without surtitles