This article probes a radical co-production of El burlador de Sevilla—with interpolations from Tan largo me lo fiáis and a passage from Tirso’s La dama delOlivar—by the Compañía Nacional de Teatro Clásico (CNTC) and Grec 2022 Festival de Barcelona, as adapted and directed by Xavier Albertí. It examines how, in the context of the 2017 resurgence of the #MeToo movement, this re-creation of El burlador allowed the amorous agendas, social ambitions, or sexual desires of the play’s visible women to be foregrounded rather than pushed to the background. Though these women are hardly models of virtue, they exercise agency: the ability to make choices and then act upon them.

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