In the centuries of aesthetics, of appearances, of social emptiness, of contrasts between church and state, in an immobile dualism between moral and immoral, Molière once again delves into the cracks of the human soul, into its miseries, into its limitations of survival.
Scapino is a “relative” of that “unlucky” Don Giovanni, both on that third amoral path, both in contrast and in flight from what is good or bad, beautiful or ugly, moral or immoral. Hunted, he makes no agreements with anyone, he does not swear. He flees and mocks everything that is old.
