Kibele, the mother goddess of Anatolia, the middle of East and West falls on earth. Our current world in 2020, where there is only 35 per cent of wilderness left (Attenborough, 2020), where the technology goes forward, and nature goes backwards.

Kibele is the ideal form (Plato, 2007), meaning she reflects goodness inside and out. Yet even she fells for love, for Gordius. The curse of being a female, a knot that has not been solved, started a long time ago. Kibele is here to remind us that the curse still exists.


Kibele is a great leader, as she is in control of how she behaves, and her awareness is high. She can comprehend what is going on earth and what is beyond it. Yet she is in a human body form and will feel weak but in control.

There are three ‘riders’ in a human being: the accuser, the saver, and the passive (Iskender, 2020). Kibele is neither of them; she uses each rider as she needs. 

Goodness requires great intelligence (Iskender, 2020), and Kibele is highly intelligent. A goddess. Her intentions are purely exemplary. 

Yet the moment she bites the apple (Biblical), things change. She struggles to focus on her main intention of carrying humanity to a higher place. 

Kibele encompasses my self; she is higher than myself.

Kibele’s body resembles a healthy, long-lived tree. Her breath is calm; her arms are free.

However, I, the actress have a problem with my arms that I discovered during our work on Kibele. Thus, I have realised to be the Kibele I want to be in the play, I must work on releasing my arms, which requires a more extended period and practice.

How does Kibele ask questions? 

Kibele knows what her life purpose is. In the scale of wild – human – godly, she fells on between human and a god.