Новата актуалност на Тартюф
The new actuality of Tartuffe

Summary/Abstract: This article examines three productions of Molière’s comedy Tartuffe (1622–1673), created in the last decade and dedicated to the double anniversary of the famous French classic (400 years since his birth and 350 years since his death), which the world celebrated in the period 2022–2023. The motive to make a comparative commentary on these three performances – Krasimir Spasov’s Tartuffe at the Bulgarian Army Theatre in Sofia (2016), Igor Vuk Torbica’s Tartuffe at the Serbian National Theatre in Novi Sad (2019) and Ivo van Hove’s Le Tartuffe ou l’Hypocrite at the Comédie-Française in Paris (2022), is that they offer different metamorphoses of the image of Tartuffe, through which, however, their directors make a very close interpretation of the famous play. Tartuffe, on the dramatic frontier of the second and third decades of the 21st century, takes aim at the family as an allusion of traditional European society and pursues its dissolution. The focus of the text is this new relevance of Molière’s comedy, revealed in the three productions, and the frank debate about the challenges to basic European values today that it opens up.

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