Anfitrión

Theft, ladies and gentlemen. This is what Molière did with Anfitrión [Amphitryon], the amusing original text by the Roman playwright Plautus. As owner of that fascinating booty Moliere, at his own inclination and all due credit to his enormous talent, transformed the text. Now, Juan Carlos Rubio receives the offer from Pepón Nieto to be an accomplice in a new theft and to give shape to the dramaturgy and direction of this revised Anfitrión [Amphitryon], based on the text of the French playwright. Evoking the well-known phrase “he who steals from a thief has a hundred years of forgiveness”, Rubio divines what Molière would have done, had he been alive at the present time. On the one hand, he adapts it to reality and rewrites the role of women, transforming them from mere pawns on the male-dominated playing fields into real driving-forces, side by side with the male characters. On the other hand, he explores in more depth the game of duplicity and image.

Are the social networks, so much in vogue, more than a desperate attempt to observe ourselves from the outside, to shape our own being and (using filters) display ourselves to the world and, by extension, to ourselves? Do we need to see ourselves to believe in ourselves? Are we victims of our own image and resemblance? Anfitrión [Amphitryon] is a story of cloned beings who live the amazing paradox of seeing themselves from the outside, a mix of the divine and the human, passions and hatreds, infidelity and desire, laughter and other feelings for the healthy purpose of entertaining.