Prometheus [or Prométhée] is a Titan who loves human beings and thus, despite of the will or command of Zeus, the new king of the gods, he defies all upstart and old deities, steals fire, and hands it over to mankind to, due to such a rebellion, be chained and hardly punished by Zeus, somehow a consecutive eternal punishment, even though he feels no guilty and never regrets nor asks for forgiveness. And/or/pro/methe but is about the [hu]man who has been presented with fire and – intentionally or not – forgotten or neglected the donor, Prometheus, and his afflictions or tortures and sorrows – as far as contemporary man is concerned gods are dead. Post-Promethean man is quite concerned with himself or his own passions and problems; there is no role for gods in the Tragedy of Contemporary Human.
And/or/pro/methe, as shown in this performance, is the story of an oppressed forgotten girl who gets reborn or regenerates from her anger and suppression as a ruining machine to simultaneously destroy and be destroyed, and/or the tale of a horrified lonesome woman who seeks, seeks, seeks safety or rest and welfare but doesn’t find [even a glimmer], someone who doesn’t go ahead but just sinks or falls downward, and/or the narrative of a semi-mad man who is obsessed with the theme of selection or choosing, neither this nor that, actually there is no option for him but fleet unattainable death which doesn’t accompany peace or tranquility, and/or the account of a [wo]man who doesn’t obey the fate or destiny but [concurrently] obeys [or capitulates to it], [s]he strongly resists but weakly surrenders, shouts but is silent or neither can cry nor still, loves but hates, till [s]he [eventually] goes to his[/her] altar [to sacrify or be sacrified] but doesn’t go; the constant slaughter of the past which never passes [or comes] and the future which never comes [or passes] or both which unremittingly pour in the perpetual present on the altar stone.
And/or/pro/methe is all about these and/or isn’t; about [contemporary] human, as a species, who has been plagued or lost in the labyrinth of violence, tortures, suffers, struggles, ruins, gets ruined, and rots.
And/or/pro/methe is Beyn theater group’s latest production, a stage performance, born from the contemporary human’s tragedy project and is based on the Prometheus Bound by Aeschylus. In development of this work, Beyn got inspirations from the traditional mourning ceremonies of Muharram in the city of Yazd in Iran. Iranians have an old tradition of mourning ceremonies during the month of Muharram which are rooted in Islam as well as Iranian culture, rich with symbolism. Patterns such as beating chest with palms, weeping to the mourning hymens and strong beat of drums have been incorporated from Muharram ceremonies into Beyn’s performance to present a dramatic portrait of Prometheus and to symbolize causes of violence in human beings’ existence.
And\or\pro\methe, in its premiere, in the Fadjr International Theater Festival was candidate for the jury special award in Tehran, Iran, for creativity, innovation and team work and also was the candidate for the Best music design award, in the Fadjr’s international competition.