Deception, seduction, and gender play abound in Moliere's farcical "Tartuffe," Barnard College's first departmental production of the season. Directed by guest director Will MacAdams, the production will be performed Oct. 15-17 in the Minor Latham Playhouse by an entirely female cast.    The story follows the machinations of the conniving Tartuffe, a guest in the household of the wealthy Orgon. Under the pretense of being devoutly religious, Tartuffe manipulates his host, much to the aggravation of Orgon's family. As Tartuffe coerces Orgon to renounce both his wealth and daughter, the family attempts to trick the clever fraudster themselves.        The decision to stage the play with an all-female cast is meant to raise questions about gender roles and to reinvent this classic play, which is so focused on seduction and sexuality. Actors explored the concept that gender is an illusion and that all humans may be perceived as androgynous beings.  "Drag King" Diyaa Mildred Gerestant led one theatrical workshop, which exposed actors in the department to the possibilities of gender fluidity while identifying the performative mannerisms that distinguish male behavior from female behavior.    "The masculine and feminine exist in all of us.  We can embrace whatever characteristics are attributed to one or the other as a means of finding power within ourselves," said Miriam Pensack, CC' 13, who plays Orgon's son, Damis.    According to Tara Pacheco, CC  '13, who plays Elmire, in gender workshops held during rehearsals actors examined the ways in which society grooms the subconscious tendencies of men and women.  Pacheco cited the feminine habit of frequently and unnecessarily apologizing as a product of societal conditioning.  "Within society, a woman has to exert herself," said Pensack.  "On the subway, women try to take up as little space as possible, while men are sprawled.  Women are asked to put on make-up and wear heels."  Actors also discussed the gender-based associations or presumptions they might hold, including "feeling feminine after saying something stupid or feeling masculine after saying something insensitive," said Pacheco.  Performers studied the gender-based norms of social interactions, such as the masculine tendency to avoid standing within very close physical proximity to other men.  "They [men] have to assert themselves by saying something very 'frat-boy' if the hug is too long," said Pensack. Bettina Weiner, GS '10, observed women she called "Park Avenue ladies" to develop the mannerisms of her character, Orgon's conservative mother Pernelle.  Pacheco, in radical contrast to the structured Orgon, saw her own character as a progressive bohemian, "the powerful woman who is hard to accept."  She worked to highlight the femininity of her role by identifying and distinguishing certain elements of female seduction.    "There is a difference between expressing sexual desire in an overtly lustful way or a coquettish way," said Pacheco.  "To be a coquette, you are expressing an interest and then pulling it back, rather than succumbing to your desires."  The character of Tartuffe is portrayed as being an androgynous seducer who identifies targets for his trickery according to their weaknesses.    "The androgyny is appealing," said Pensack.  "You can't help but be attracted to someone who is internally liberated."