Stanislavsky Theatre
Premiere of this production: 11 May 2001 A ballet by Boris Eifman Boris Eifman is a philosopher-choreographer. His is preoccupied with the problems of modernity, with mysteries of creativity and the magic of genius; these views and reflections of him are revealed in Eifman’s interpretations of the lives of Piotr Tchaikovsky, Jean-Batiste Moliere and ballerina Olga Spessivtseva. Making deep insights into the dark and mysterious sphere of human psycho, Boris Eifman offers us his specimen of ballet psychoanalysis. He strives to show a man in his extreme states of mind and soul believing that his heroes’ madness is not a malady but a unique ability to contact other worlds. This helps the choreographer push the limits of his own imagination by way of depicting the fancies of his heroes, and extend his intuition to the most burning spiritual and philosophical issues of the life of humankind. In this production of Molière Passion, or The Mask of Don Juan Boris Eifman explores for the second time the life story and artistic universe of the famous comedy dramatist. Similarly to the production of Don Juan & Molière, presented to the public in 2001 (which, according to The New York Times’s dance critic Anna Kisselgoff, surpassed all of the choreographer’s pervious works), the new ballet draws its dramatic energy from the contradictory unity of the theatre and the reality, from the complex, sometimes paradoxical relationship between the author and his characters. However, this time Eifman depicts the multifaceted personality of the French writer and actor even more expressively. The audience is taken beyond the theatre curtain and gets an insight into the kind of “trash” of scheming, anguish and concerns that paves the path of immortal comedies. The choreographer sees Molière, who created his own theatre, as the artist closest to himself. Colourful sets, well thought-through costumes, a dynamic lighting design effectively underscore the dramatic contrast between the alluring world of stage and the miserable daily routine of the creator. SynopsisAct 1 The life of a brilliant playwright Jean-Baptiste Molière is nearing its end. Although terminally ill, he continues to write. His wife Armande, who is cheating on her husband with yet another admirer, interrupts his intense work. Molière’s reminiscences take him back to the days of his youth. Busy routine of the theatre company touring the provinces of France. The theatre manager Jean-Baptiste runs rehearsals with actors, smoothes out erupting squabbles, and performs on stage. His true friend and a gifted actress Madeleine is always at his side. Her adolescent daughter Armande is also there, among the performers. The nomadic theatre family seeks its fortune in the capital. Glamour and luxury of Paris are intoxicating. The premiere of L’École des femmes at the Palais-Royal – the long-awaited playhouse – is a success. The company pays tribute to their director Molière. It is a sad return to reality, to his unfaithful Armande, for the elderly Jean-Baptiste. What bitter pain causes him this flirting creature! And only memories of the past happiness with Madeleine restore his wounded soul... New concepts seek expression on paper. Molière’s Tartuffe ruthlessly condemns bigotry and hypocrisy of the contemporary society. His challenging play infuriates moral crusaders, and their revenge is not far behind. Only the patronage of Louis XIV saves the playwright. Armande becomes Jean-Baptiste’s lover. Madeleine leaves the theatre. Armande and Molière get married. Act 2 A magnificent court performance is prepared by Jean-Baptiste. The King appears on stage as the Sun, Armande – as the Moon. His wife’s frivolous behaviour distresses Molière, who is powerless of changing anything. The author of comedies finds consolation in his creative fantasies. Wishing revenge against abhorrent fops who destroy families, Molière presents a play about Don Juan. Jean-Baptiste’s pen makes the conqueror of ladies’ hearts a prey of two tenacious peasant women. A wall of estrangement grows between Molière and Armande. A peaceful image of the past, when Jean-Baptiste, Madeleine and Armande have been together, becomes all the more poignant in comparison. A ball in the Commander’s castle. Don Juan is among the guests. The noble Commander’s love for his wife Donna Anna makes the devious tempter jealous. The host and his spouse perish in the fight with Don Juan. A noisy shindig distracts Jean-Baptiste from his writing. Armande is, as always, surrounded by her suitors. In his nightmarish hallucinations Molière sees himself as a cuckold. Delusions are replaced by mockery. The play about Don Juan is again on stage. Molière plays the role of Sganarelle, Don Juan’s servant. Armande plays the seduced nun Elvira. In the finale Heaven itself punishes the reprobate destined for the inferno. Molière is horrified by Don Juan. Nonetheless, his craving to follow the path of the great sinner, which is filled with pleasures, to conquer Armande with the force of a diabolical spell, is too strong. In his dreams Jean-Baptiste transforms into his own creation and revels in Don Juan’s demonic power. The production is banned; the bailiffs seize the assets of the theatre. Molière’s body is shaking with dreadful fits of coughing. But Jean-Baptiste turns even his own slow decline into a comedy, which mocks charlatan doctors. Madeleine comes to Molière in his final joyous vision. Royal favour is withdrawn. The vulnerable author is exposed to persecution. Death leads Molière to immortality. | Boris Eifman Ballet presents: "Molière Passion, or The Mask of Don Juan" on the playbill
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