All theatre works with the same themes, endlessly repeated. Sophocles rewrote Aeschylus; Shakespeare took his themes from Greek and Roman antiquity, as did Racine; Brecht, continuing this tradition, rewrote Shakespeare. Without necessarily referring to these illustrious examples. we can see the same sort of rewriting everywhere in contemporary French theatre. This way of working informs us about the imaginary and is relevant here only as justification for my venturing to recreate Quixote and Panza once again in the theatre. In this case the project requires a double justification, since the actors playing these roles are women. This is not, as some have charged, simply a matter of transposition. If the spectators of The Constant Journey are convinced when the curtain falls by these new characters Quixote and Panza, it is because they have been present scene by scene at the remaking of heroes of a new sort. Indeed, the success of this play depends on active spectators, capable of recreating a complete fable from nothing. As always, it's a fable they know by heart because each episode is faithfully repeated from Cervantes, including the scene of the puppet show, and even including Quixote’s rewriting since in the second part of Cervantes's novel Quixote knows about his own adventures and takes the place of the author.