Rhyming God

 

Rhyming God


Be he alive Be he dead


songs of Job and Zarathustra


Performance by Adrin Neatrour

 
 
Rhyming God
 


 

Rhyming God


Be he alive Be he dead


songs of Job and Zarathustra


Performance by Adrin Neatrour

 
 
Rhyming God
 


 

Rhyming God


Be he alive Be he dead


songs of Job and Zarathustra


Performance by Adrin Neatrour

 



Next performance:


 25 October 2018


Star and Shadow Cinema
Warwick Street
Newcastle NE2 1BB

Tickets: £6 and £5 (c)

tickets in advance: www.ticketsource.co.uk

About

Rhyming God!
A performance by Adrin Neatrour

Riddle me riddle me riddle me ree
Job and Nietzsche rhyming god
Tell the riddle then you’re free
To say if god’s alive or not!

“God is dead!” Across the centuries Zarathustra, Nietzsche’s alter ego calls out to human kind to embrace our true destiny.

Aside from Greek Theatre direct takes on God are comparatively rare in theatre. Traditionally the subject and depiction and appearance of god are regarded as blasphemous and have been censored.

In an aggressively secular age it seemed to me that it was now appropriate for god to take centre stage and be the subject of a profane drama. Performance is an expressive form that can open us up to different possibilities. Possibilities far removed from the arrogance of contemporary atheists such as Richard Dawkins, possibilities closer in spirit to the anguish of Job the mysterious god afflicted prophet of the Old Testament.

The interweaving of the utterances of Zarathustra and Job seemed to me a natural design. The latter takes as his starting point the one who makes a moral demand of god; the former takes as his starting point Nietzsche’s moral demand of man.

The words are mine. I take responsibility for interpreting both the Book of Job (St James Authorised Version) and Thus Spoke Zarathustra (trans. R Hollinghead).

Adrin Neatrour

Peter Mortimer writes in the British Theatre Guide:

In Rhyming Gods—Songs of Job and Zarathustra, Neatrour goes for the big one. His topic is God (not a regular character in stage plays) and on a bare stage and with only the set of stepladders as a prop, Neatrour twists himself into all manner of metaphysical situations, the stylized movement at times reminiscent of silent movies, a performance that is a remarkable tour de force.