“The mentioned events of September 11 have set free a completely new wave of negative engagement with Islam. Despite and because of this, we need to try and find a better rapport with Islam and Islamic culture in its highest form in the same way that our Muslim friends in Egypt and Saudi Arabia must also be open to what we have to offer on a cultural level. We all live on the same planet and need to appreciate and know more about each other. Otherwise, culture can only dissipate into hate and ugliness.”

(Quotation from Annemarie Schimmel: “On the path of Islam; my life between cultures”)

What do Belmonte and his friends know about the way of life and religion of the country they are traveling through? How many misunderstandings arise through diverse mentalities and differing traditions which one either does not observe or distrusts? You are in a foreign country and still believe your own way of life sets the tone. That can have fatal repercussions.

The purpose of this production is not to provide an explanation about Islam. And it is also not about bringing the events of September 11 or Madrid to the forefront. I certainly don’t want to put this theatre piece under the spotlight.The piece is about tolerance among human beings. It begins in the relationship of man to woman and broadens out into an understanding for all mankind.

The symbol of the triangle (primary stage prop) stands for harmony and peace in its singularity and consistency. The five-armed star or pentagram, was the emblem of the Pythagorians and symbolized the human figure with spread limbs. Its number is composed of the four elements with the human soul in the middle. Pythagoras interprets the triangle as the “beginning of emergence”. Also the primitive Hebrew symbol—the six-sided Solomon’s seal or star of David—is composed of two superimposed equal triangles forming a hexangle which, among other things, also contains representations of the four elements. The triangle pointing upwards represents the ascent of the spirit and the elements of fire and air. The triangle pointing downwards stands for the decline of material matter and the elements of earth and water. In a similar fashion, the double triangle’s hermetism signifies the bonding of macrocosmos and microcosmos.

The rank of the number three has led to countless trinitary dieties throughout the complete history of religion. If the number three and the triangle possess a certain attraction in Christian mysticism and magic to the Holy Trinity, the number three can also be demonic since Satan occasionally imitates the Trinity. Even in the absolute monotheism of Islam triangles have found their way in. The Shi’ite dissemination of the pledge of faith “there is no God but God, Mohammed is the messenger of God and Ali is the friend of God” gave rise to countless decorative applications of the trinity of God; Mohammed, Ali and in some extreme Shi’ite groups the Persian Salam are linked in a triangle. The Sufis, who divide the path into Law, The Mythical Way and Reality, stand very close to their Christian colleagues who speak of the Path of Cleansing, the Path of Contemplation and the Path of Enlightenment.

Thus, the triangle is the uniting symbol of all people and cultures, a symbol of the human soul, of harmony, unity and freely flowing, all-encompassing love. Yet when this harmony is destroyed (which is satanic as we know), destruction and war arise. Even on a small scale man and woman confront each other and fight over jealousy, possessiveness, intolerance, lack of understanding and aggression. Where can one then find tolerance for another people, for another culture? One wants clarity and justice for himself; one wants to possess and hold on to something. One struggles, cheats and tries in every way possible to turn the world to his own advantage.

Who can put a stop to it before everything ends in utter chaos? In this theatre piece it is Bassa Selim. Even he is driven and torn in this course of the world. He would like to possess, to hold on. He has the power. His influence could destroy or secure him the necessary right. Yet what is that but a purchased and forced possession? He quarrels with his heart and conscience but finally knowledge wins the battle for true love. He lets Constanza go. He gives her the freedom and happiness she has been longing for. He could destroy it,  he could take revenge via heinous deeds, but he does not.

His internal struggles are illustrated through the poems of Jalaluddin Rumi (1207-1273), one of the most significant Islamic mystics and greatest master of Persian poetry. The poems expound upon deep love and yearning which lead to a mystical reunification with the loved one.

Bassa finds his way back to inner harmony, to true love which knows no possessiveness and can now transmit this to others. In contrast to this, Osmin perseveres with his pigheadedness and thus brings everything around him into chaos.

“...We can learn from all of this. There are two races of people on earth and only these two: the race of decent people and the race of the indecent. Both ‘races’ are widely distributed. They force their way into all groups and infiltrate them. No group consists of only decent or indecent people, therefore no group is racially pure...”

(Quotation by Victor E. Frankl: “Say ‘yes’ to life all the same. A psychologist experiences the concentration camp”)

Bassa creates a bridge between the cultures, a unit. He disregards old power plays and reaches his opponent. The ‘war’ is converted into ‘peace’ at the last moment. Can it last long?

            Yes, disperse these words

            Women should give birth to children with a hatred for war.

            The world is destroyed by the hands of heroes.

            It depends on us to erect it again!

            Play songs of joy, play songs of sadness.

            As far as the eye can see, destroyed world.

            Blessed be those who rebuild it.

            Blessed be those, who will bring a blossoming world.

            Bahram Beyzaie

            writer, film maker

“....at the beginning of the overture a man and woman appear on stage in intentional primitive nakedness. They hug each other until a sudden fit of jealousy and greed tear them apart. The apex of the quarrel coincides with the just appeared globe as it explodes above them and severs the foremost triangle...”  (www.klassik-heute.com)