THE MISANTHROPE
The Misanthrope was our first co-production with Teatro Municipal de Las Condes, and also the theatre’s first experience co-producing a stage production. Featuring an outstanding cast led by Francisco Melo, a striking visual concept, and a dramaturgical adaptation by Rafael Gumucio (who rewrote Molière’s text while preserving its verse) the production offered a fresh interpretation of this classic work.
Alceste (the Misanthrope) is a man obsessed with morality, fiercely condemning a society he believes has abandoned the values of honesty that he holds above all else. Yet he is deeply in love with Célimène, a witty young widow who sees love as a path to freedom. Torn by this contradiction, Alceste longs to escape a world he despises together with the very woman who embodies it. Despite the force of his convictions and the sharpness of his criticism, he ultimately becomes an object of ridicule because of his excesses, failing to practice the moderation he demands of others.
The production was presented at Teatro Municipal of Temuco before a scheduled national tour had to be cancelled due to the Social protests of 2019, followed by the COVID-19 pandemic.
Co-produced by La Santa and Teatro Municipal de Las Condes.
With the support of Caja Los Andes and Luxes.
Año2019
Clasificación+12
Duración2 hours
First co-production with the Teatro Municipal de Las Condes, 2019.
Ficha Artística
Director
Álvaro Viguera
Dramaturgy
Molière
Dramaturgical Adaptation
Rafael Gumucio
Cast
Francisco Melo / Paloma Moreno / Álvaro Espinoza / Rodrigo Lisboa / Matías Oviedo / Natalia Grez / Cristóbal Muhr / Mariela Mignot
Comprehensive Design
Claudia Yolín
Musical Composition
Camilo Salinas
Executive Assistant
Catalina Martin
Production Assistant
Alessandra Massardo
Costume and Set Design Assistant
Carolina Díaz
Visuals Designer and Operator
Benjamín Villalobos
Sound Design and Sound Operation
Marcos Salazar
Lighting Operation
Macarena Sides
Stage Machinery
Joel Banda /
General Production
Antonia Santa María
Photograph
Natalia Espina
The lines in this version, while adhering to a very simple rhyme scheme, vary in length
with a freedom that Molière and his era could not have permitted themselves. We were guided
by the idea of a rhythm that, while respecting everyday Chilean speech, compels the actors
and their characters to adopt a dual approach to the language—one of playfulness and respect,
of challenge and magic.
Rafael Gumucio
Adaptación Dramatúrgica
