Don Giovanni

NOTES ABOUT THE ADAPTATION
The Don Juan of Molière is a text still sounding great and modern, without a gram of powder due to its age, but it is also a mysterious and sublime work, "unique" from many points of view, especially from the stylistic one: an irresistibly atypical comedy compared to the vast production of the French playwright, an almost Shakespearean tragedy with an apparently not linear plot, and characters in appearance incredibly far apart.
In this new adaptation they wanted to create a distinctly "postmodern" and cinematographic script, confirming the pleasure of the aficionados of prose, but also able to introduce elements triggering the thought, as for example the introducing episode of the duel with the Commendatore, matrix of the whole story.
The language is used at the service of the show with the specific intent to marry the passing entertainment to a discreet camouflaging of content, supporting organically a bizarre structure in which comedy and tragedy will follow each other almost without notice.
This apparently chaotic creative freedom, perhaps due to an extreme synthesis of composition by the author, is offset by a clear structure and by a strict "layout", a succession of paintings made with real cinematographic ellipses .
[Tommaso Mattei]

NOTES ABOUT THE DIRECTION
In a current society seeming to beg the fiction to achieve happiness and constantly putting on play feelings and emotions, the Don Juan of Molière unmasks the hypocritical behaviors and the aptitudes of a decadent middle class, becoming the inimitable master of mimicry.
Don Giovanni gathers on himself as a guinea pig, the hypocrisy of the world, and becomes consciously sacrificial and contemporary victim of the society in which he lives.
Substancially, the literary character who through this sacrifice continues to be the myth of the modern individualism eventually immolates himself, refusing the divine mercy, for today's audiences, remaining thus the myth of the twenty-first century; all we may hope is that this spectacle of the vices of the soul might let the public - essential for our Don Giovanni - to reflect about the real meaning and the mystery of life: the salvation of the spirit is fundamentally linked to our authenticity. What better wish for the today's theater.

DON GIOVANNI
by Molière
translation ad adaption by Tommaso Mattei
with Lucrezia Guidone Maria Celeste Sellitto
Roberto Manzi Daniele Paoloni
Daniela Vitale Matteo Guma
scenes Fabien Iliou
costumes Marta Crisolini Malatesta
lights Valerio Tiberi
original music Andrea Parri
artistic supervision Alessandro Maggi
directed by Alessandro Preziosi

characters and performers:
Don Giovanni Alessandro Preziosi
Sganarello Nando Paone
Donna Elvira Lucrezia Guidone
Gusman Roberto Manzi
Don Carlos Matteo Guma
Don Alonso Roberto Manzi
Francisco Daniele Paoloni
Carlotta Maria Celeste Sellitto
Maturina Daniela Vitale
Pierino Daniele Paoloni
Violetta Daniela Vitale