“Don Juan, el Burlador de Sevilla” by Emilio Hernández (Spain)
By Stefano • May 19th, 2008 • Category: Agenda, Focus| June 21, 2008 10:00 pm | a | June 22, 2008 10:00 pm |
DON JUAN, EL BURLADOR DE SEVILLA
by Tirso De Molina
dramaturgy and direction Emilio Hernández
production Ayuntamiento de Sevilla - Sociedad Estatal de Conmemoraciones Culturales
in cooperation with INAEM - Ministerio de Cultura (Spagna)
21st, 22nd June 10.00 pm
First night
language Spanish (Italian supertitles)
duration 120′
location: Real Albergo dei Poveri
with Fran Perea, Isabel Pintor, Lluvia Rojo, Marina San José, Ana Salazar, Manuel Tejada, Juan Fernandez, Enrique Arce, Jorge Roelas
set-design Francisco Leal
costumes Helena Sanchis
musical compositionDavid San José
choreography Juan Carlos Lérida
light design Francisco Leal
direction assistant Juanjo Villanueva
executive producer Jesus Cimarro / Pentacion Espectaculos
Emilio Hernández puts on Don Juan, el burlador de Sevilla by Tirso De Molina, a Spanish playwright, poet and religious who lived between ‘500 and ‘600.
Tirso de Molina’s work marked the beginning of the fortune of Don Juan character, “the most wicked man this world has ever given birth to”, as defined by his servant. His unscrupulousness, confidence in the individual and contempt of the supernatural, make him the archetype of the most influential and recurrent myth of the modern times. The figure of Don Juan is born in a Spain characterised by political and moral decline: an individualist and asocial man, cheat swindling is Don Juan’s other face. His main interests are neither love nor women: he finds his own identity only through the confirmations he gets from his conquests.
Hernández re-launches this mythical character starting from his historical dimension: Don Jaun, as maintained by the director, «represents the impunity and corruption of the monarchical Spain. Tirso De Molina writes about Alfonso XI’s court «not to write about his own life and we could also make reference to our life in the early 21st century». Just like the King, Don Juan is tolerated and envied by men: his power, his relationship with the power, his economic and social position guarantee to him a privileged role within a declining society responsible for its own collapse.
Born in Cuba in 1948, Emilio Hernández has been living in Spain since 1955. Director of the Festival di Almagro, he obtained a diploma in Dramatic Art at the “Real Escuela Superior de Arte Dramático”; since 1998 he is an active member of the European Theatrical Convention and, since 2000, advisor to the “Festival Iberoamericano de Teatro de Cádiz”. Between 1997 and 2004 he was director of the Centro Andaluz de Teatro; between 1988 and 1989 director of the Centro Cultural de la Villa de Madrid. Since 2004 he is the director of the Foundation Don Juan de Borbón in Segovia; he has directed over thirty performances including the musical Tarantos, Bodas de sangre, Romeo y Julieta, Otelo el Moro, Fuenteovejuna, Madre caballo, La pasión según Don Quijote, Hipólito, Hécuba, Fedra. For his works he was also awarded the Prize Clásicos del Festival de Almagro and the Prize ADE de Dirección.
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