Don Juan

The show investigates in Don Juan's myth from theatrical texts of Tirso, Molière and Zorrilla.

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



Don Juan de Zorrilla: Alfonso Sánchez / Ignasi Vidal
Don Juan de Tirso: Javier Castro
Don Juan de Moliere, Comendador: F.M. Poika / Anibal Soto
El Criado (Ciutti, Catalinón, Sganarelle): Chema del Barco
Dª Inés, Charlotte: Celia Vioque / María Varod
Tisbea, Guzmana, la Muerte de Tirso: Antonia Zurera
Isabela, Brígida, la Muerte de Moliere: Belén Lario de Blas

Grupo Dalbergia Trio
Director Musical, Guitarra: Paco Seco
Saxo: José María Roca
Chelo: José Pipió
Percusión: David Ruiz
Clarinete: Venilia Borrego
Violín: Aolani Shirin / Patricia Ramos

Costume: Mai Canto
Graphic Design: José Mª Roca
Original Soundtrack: Paco Seco
Technical Coordination: José Pipió
Lighting and Video: Sergio Collantes
Sound: Víctor Daniel Fernández
Production: Silvana Redivo
Production Assistant: Julio Jurado
Administration: Mela Peñalver
Groups Promotion: Elvira Lario
Hairdressing: Nerea Dali Canto

Direction Assistant: Teresa Pardo

Spatial Design, Screenplay and Direction: Gema López


Technical Requirements