Seducer’s dreams: don Juan looks himself at the mirror

Abstract

This article tries to confront some literary and cinematographic versions of the myth of don Juan departing from the original version, the play of Tirso de Molina El burlador de Sevilla y convidado de piedra. The lifetime of the character stands in a renewed tradition that, sometimes, moves away from the stereotype to end in the humanization, in the counterfigure or in the caricature of the seducer. In all the languages (cinema, novel, opera, theatre, essay) don Juan supports his dramatic nobility and his rebellious independence.