Molière is a call for truth rising from the stage and theater texts from the 17th century to the present. It points to a universal "we" in a wide geography, in different languages, for centuries without diminishing its voice. In Molière's works, we can see many close-knit influences, from Byzantine Mimus to the Italian Commedia dell'Arte tradition.

Molière establishes a strong comedy tradition that speaks bluntly to a wide audience from the palace to the public. The universal reality and heavy burden of humanity finds one of its purest expressions in him and his works. It is therefore misleading to consider Molière's comedy as a sheltered, safe haven. The complex corridors of humans with flattery and bigotry, stinginess and ruthlessness are reflected on his characters, becoming the expression of a nuanced human condition. Therefore, Jean Anouilh is right: Molière "wrote the blackest plays in literature down the ages, in a normal comedy pattern."

The universal quality of the narrative and character construction in Molière plays finds a different voice in every geography and becomes localized. These are the Molières penetrated by different localities in different ages. We begin to see Molyer in "us" in the Ottoman scenes in the 19th century from France in the 17th century. It spread to the Ottoman stages from Pera to Gedikpaşa, from Istanbul to Bursa.

In Molière's stagings, translations and adaptations, we have the opportunity to observe the multilingual and multicultural structure of the Ottoman Theater. Written and played in different languages, from French to Ottoman, and from Armenian to Greek, it becomes “our Molyer”. It appears on our theater stages with the adaptations of Ahmet Vefik Pasha, Teodor Kasap and Ali Bey. It influences Hagop Baronyan's powerful comedies, inspires Nâzım Hikmet's Tartüf-59, and provides a basis for a critical reading of our theater history from the Ottoman Empire to the Republic with Haldun Taner's work, “Sersem Kocanın Kurnaz Karısı” (The Cunning Wife of the Stupid Husband).

With the strong stage interpretations of actors such as Tomas Fasulyacıyan, Ahmet Fehim, Behzat Budak, Kınar Sıvacıyan and Bayzar Fasulyeciyan, he becomes “a native”. The universal reality in Molière meets our historical, social, and political dynamics, is rooted, dimensioned, and evolves into "our" Molyer.

In Salih Fuat's words, we try to look at "us" and question that "us" which has changed from past to present, through Molière, whose "main stamp is truth". We invite you to the exhibition "Molière’den Molyer’e" (From Molière to Molyer) which we prepared for the 400th anniversary of Jean-Baptiste Poquelin Molière, who has been on the stage with an unending interest for centuries.