PRODUCCIONES IMPERDIBLES

Every author presents Don Juan with his common characteristics but, and this is the interesting thing, contributes different elements concerning the character. These differences reflected in the spectacle, complement and enrich our comprehension of the myth that is understood with more precision in the different ends before the death.

Departing from Jose Maria Roca's original idea of working with three authors, I have elaborated a theatrical text where the words that we are going to listen belong to these writers but the selection, order and putting in scene is the result of my personal work and of the one realized with the actors during the rehearsals.

Expressing the non-temporality of the myth, the putting in scene does not place in a previous epoch, I have chosen a contemporary enough scene, as well as the dresses and the music created specifically for.

The spectacle develops in three parts:

In the first part, I present the character gathering the characteristics of each one that better draw themselves.

Of Zorrilla, Don Juan's text in his bet with Don Luís where he is telling his adventures with this challenging character.

In Tirso it is defined by the action of the deception to Isabela.

In Molière it is defined as a perpetual lover of the conquest.

Three authors define the character of Don Juan as a pair where the other part is the servant who complements him.

In every author the servant has a different relation with his owner.

In Tirso, Catalinón, is fearful and is submitted to the will of his owner by dread or by obligation.

In Zorrilla, Ciutti, feels admiration for his owner.

In Molière, Sganarelle, is the voice of the conscience, the critique of the conduct of the owner, across the irony and the jeer,he always shows his objection.

In the second part it’s developed DonJuan’s seduction relation with the women and the fascination that he exerts in them.

An act riddled with words of love, frets, insinuations, promises, breaths, sighs, meetings.

In the third part appears the conclusion and Don Juan's meeting with the death.

Here it is where the texts differ more, raising every author a different end.

For Molière's Don Juan the idea of the repentance does not exist and supports before the death the same attitude of arrogance.

When Tirso's Don Juan understands that he is at the end and feels the pain, he is afraid and asks for the absolution of his sins.

Both are condemned.

Zorrilla’s Don Juan, has a more complex development, the love for the virtue of Dª Inés makes him want to leave the seduction attitude and want to keep the relation with her.

He cannot avoid dying but through the love to Dª Inés and the repentance he finds the divine clemency to be saved.

Gema López

Direction

El espectáculo se desarrolla en tres partes:
 
En la primera parte, presento al personaje recogiendo las características de cada uno de ellos que mejor lo dibujan.
De Zorrilla el texto de Don Juan en su apuesta con don Luís donde va contando sus aventuras con ese carácter desafiante y retador.
En Tirso está definido por la acción del engaño a Isabela.
En Moliere se define como un perpetuo amante de la conquista.
Los tres autores definen al personaje de Don Juan como una pareja donde la otra parte es el criado que le complementa.
En cada autor el criado tiene una relación diferente con su amo.
En Tirso, Catalinón, es miedoso y está sometido a la voluntad de su amo por temor o por obligación.
En Zorrilla, Ciutti, siente admiración  por su amo.
En Moliere, Sganarelle, es la voz de la conciencia, la critica de la conducta del amo, a través de la ironía y la burla, muestra siempre su disconformidad.

En la segunda parte se desarrolla la relación de seducción de Don Juan con las mujeres y la fascinación que ejerce en ellas.
Un acto plagado de  palabras de amor, roces, insinuaciones, promesas, alientos, suspiros, encuentros.

En la tercera parte se plantea el desenlace y el encuentro de Don Juan con la muerte.
Aquí es donde los textos difieren mas, planteando cada autor un final diferente.
Para el don Juan de Moliere no existe la idea del arrepentimiento y mantiene ante la muerte la misma actitud de arrogancia.
El don Juan de Tirso cuando comprende que esta en el final y siente el dolor, tiene miedo y pide la absolución de sus pecados.
Ambos son condenados.
El don Juan de Zorrilla, tiene un desarrollo mas complejo, el amor por la virtud de Dª Inés le hace desear abandonar la actitud seductora y querer mantener la relación con ella.
No puede impedir la muerte pero a través del amor a Dª Inés y el arrepentimiento encuentra la clemencia divina para salvarse.


Gema López
Dirección de PRODUCCIONES IMPERDIBLES S.L.