Tartuffe

Orgon welcomes Tartuffe under his roof, a man whom he considers a model of piety and modesty. He quickly subordinates to him not only his own life, but also the life of the whole family. He does not listen to warnings, does not believe his loved ones, is ready to give the newcomer his daughter for his wife and rewrite his property.

Molière builds a comedy around a deception that, in fact, is visible to everyone from the beginning - except for the one who wants to believe the most. Tartuffe wins the trust of Orgon, ostentatiously demonstrating piety, humility and severity of morals. Orgon sees in him not only a religious man, but someone who can become a moral guide for him.

The first three-act version of Tartuffe Molière exhibited in Versailles in 1664. The play drew fierce opposition from religious circles and received a ban on public display. For the next five years, Molière reworked the text and sought the possibility of playing it. It was not until 1669 that the final, five-act version of the comedy entered the stage.

Tartuffe at the Polish Theatre is directed by Anna Augustynowicz. Work on the play was preceded by a master class in September, which the director conducted with the acting team. Her theater is characterized by discipline and economy of resources, and at the center remain the actor, the word and the relationships between the characters. With Molière, we observe a family that someone from outside enters and gradually takes control of it. But Tartuffe can only do as much as Orgon will allow him. What makes the host of the house stop trusting his own eyes and those closest to him? Why is it easier to believe a scoundrel than people you've known for years?