Nietzsche noted in the 'Twilight of the Idols' that Greek culture collapsed with the introduction of the Socratic dialogue. Good manners, the inclination not to "show all five fingers" at once - this was swept aside by the inquisitive and garrulous mores of the philosopher. The Nietzschean form was always aphoristic, or (as in the case of Zarathustra), poetic. Nietzsche strayed from dialogue as vigorously as he strayed from the treatise. Yet, both dialogue and treatises (self-contained monologues) are the prevelant forms of the theatrical arts. Given this, director Krystian Lupa's theatrical presentation of Nietzsche's 'Zarathustra' in the form of monologues and dialogues - the two forms most despised by Nietzsche himself - are an irony worthy of Socrates. Sadly, Lupa fails to recognize the hard truth that Nietzsche is not so much meant to be spoken as he is meant to be heard, seen and felt - at worse...read. If, however, we take Nietzsche's advise and look upon Zarathustra as cows are prone to, rather than crabs, the play does offer some bright moments.

One of the brighter moments is the music, when it deigns to play. Music, so central to Nietzsche's philosophy, is sadly drowned out by words, so antithetical to it, at almost every turn. Nevertheless, it is there when it truly matters, awakening us from our stupor, stirring our hearts from the lethargy of prattling, forgetable acolytes and strangely enlightened penumbras. This is especially true of the third, best act of the play, wherein we are finally told the least and shown the most - as if Lupa learned only by the end of his play how it ought to really look and feel. Perhaps this maturing towards a truly Nietzschen form was deemed necessary? Hard to speculate - one would hope that the preliminary hyperbolic recitation was meant to sedate those audience members not fit for the teaching of the Over-Men. Another bright moment is the lunacy of the characters; they seem to know only two tones - stale monotone and phlegmatic frenzy: the second is utterly suitable for a play called "Z