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As a result, they created a uniformed style of acting, even though they belong to many different generations and "schools" of acting. Some plays can only be made in certain places, I could do Don Juan only with this group of actors. This production engaged quite a big group of actors, with a diverse composition, from very young ones, still students of acting, to elderly actors who've retired some time ago. Was your work on Don Juan in a specific relation to the theatre as a collective act, and with the acting as such, especially in view of the fact that Moliere himself was both an actor and director of a theatre group at the time when he wrote this play? Does the character I play on a given night die with the end of the performance? Or, is my special relationship with the play severed with the first night? I could never explain to somebody who does not belong to the theatre that a part of you remains forever captured in the production which will after a certain period of time cease to exist. Where do we, or to be more precise, where do I exist? Only when I'm on the stage. Everything outside the stage is an imaginary

world with rules and laws that I can hardly have an impact on, if at all. The rules of the theatre are close to me, dear to me, recognizable. There I can die and be back on my feet again. Everything is possible there. I don't know why anybody would wish for anything else? Of course it is an escape from life and reality. Leaving after the curtain falls is a big dilemma. Our Don Juan remains after the performance that tells the story about Don Juan. As if one's looking at oneself from inside oneself. That would be how I'd describe the genre of this production. At the time when it was written, in the period of the counter-reform, Moliere's Don Juan was severely attacked by the zealous believers who succeeded in having it banned. As if those that objected to the School for Women and Tartuffe recognized themselves in the fifth act of the play, when Don Juan puts on the cassock of false belief and joins the prevalent hypocrisy, in his heretic play, the "heretic" Moliere explores the hierarchical and theological relationships of the established ruling triad God/King - Father - Son. Moliere's Don Juan does away with the institutions of kingdom, succession and fatherhood, and he stops being the fit and natural son - successor of his father... In the fourth act of your production, Don Juan, played by Nikola Ristanovski, plays his own father, Don Luis, whereas the Commador's statue which is supposed to punish the infidel for his sins at the end of the play, does not appear at all, or appears in the form of people, or in the form of a skull which seems to be a sort of post-modern quotation from Hamlet (Machine). We thought a lot about who was going to play Don Juan's father. In the end we decided for the version I really like. No one can play the father better than Don Juan himself. Don Juan himself interprets the words supposed to be spoken by his father who's ceased to exist as a powerful patriarchal and ethical determinant. These are sentences that were never spoken, father's rebuke never articulated. This is the Father as he echoes in the inner corridors of Don Juan. I am particularly proud ofthat part. I believe that Nikola achieves something extremely valuable there. The statue I didn't want to have at all, from the very beginning, because I don't fancy naïve stage solutions, unless they are deliberately naïve. But then, he enters the Commador's vault. Already familiar with Don Juan, who I had been moulding for four acts before he entered the vault, I thought it only logical that he could not resist to look into the tomb. So, suddenly, we had Hamlet with the skull in his hand on our stage. Therefore, I have the father, the ghost, and somewhere here I would mention the scene with Donna Elvira, who will come at the end of the play to forgive Don Juan for everything, and to bring him the last warning from Heaven. In the first part, Donna Elvira is played by the young student of acting Dragana Kostadinovska, who is in the fourth act replaced by Milica Stojanova, a senior actress, who will claim that she is the same Donna Elvira from the first act. Her manner is motherly and a mother-son scene develops (the mother is in fact the missing figure in the entire play). The fourth act contains certain insanity and narrowing of the room for Don Juan's escape. Don Juan's ambivalence, especially in the dramaturgical outcome, has been enabling ever new interpretations of this play. Moliere seems to have deliberately given two ends to his "comedy". Thus, on