Violence is our business.
 

The characters are obsessed with their moral posturing, claiming they do not condone violence and emphasizing the innocence of children’s play. Yet, they manipulate that same naivety, which leads to aggression. Their hypocrisy highlights the contradictions in their values and the ease with which people abandon their principles when faced with discomfort, parenting, or life’s responsibilities.

The play raises questions about the necessity of children to have a “perfect marriage,” which is in reality filled with countless unresolved problems and unspoken words.

Yasmina Reza offers a minimalist structure, placing the characters within the confined spaces of an apartment. This intensifies tension and claustrophobia, as the characters are increasingly trapped in their own saliva, sweat, and scent. The dialogue is sharp, witty, and fast-paced, filled with humor that masks underlying anxiety and triggers.

The audience, acting as voyeurs, are entertained yet confronted with a bitter reflection of themselves. Witnessing the characters’ weaknesses and the absurdity of their situations often devolves into childlike disputes, demonstrating how their intellectual pride ultimately collapses.

“God of the College” serves as a powerful exploration of human nature, revealing the complexity of relationships and the fragile balance between civility and chaos. 

This engaged structure of the play invites the audience to think quickly, acting as a reflection on social norms, the innocence of childhood, and the harsh, raw complexity of human nature. It is a display shattered into a million pieces, set against false morality and the eternity of vanity, which inevitably leads to downfall.

During its 90-minute performance, the audience becomes participants in the arena, offering a moment of self-reflection.