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The god in question was his boss, Peter Martins, the company's ballet master in chief.
In this collaborative comedy — the play is credited to seven writers, four directors and three producers — the god in question is a goddess, Provocatrix (a vampy Alexandra Henrikson).
But the god in question is Neptune, who does not appear to have much of a constituency in New York these days.
I shall here assume that the God in question is that of a sophisticated monotheism.
Priests interpreted the movements of sacred animals or, being asked questions directly, wrote out or spoke answers that they had supposedly received from the god in question.
Standing on top of a hill with his shirt off, the God in question took in a gigantic inhale and said, "I know what you are up to".
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(Of course, given that the actual world includes everything that exists, including God, the world in question is here being considered apart from God).
Loftily entitled On the Concept of the Face, Regarding the Son of God, the show in question – which opens at the Barbican in London tomorrow – is a wrenching piece about the metaphysics of excrement or, as the director elegantly puts it, "the spirit of the shit".
The various participants are not considered performers, but rather possessed by the gods and spirits in question.
To get that result we have to add a crucial premise to the argument put forth by opponents of theism: that there can be no justification for evil, no good reason why a God with the attributes in question would create a world that contained it.
"It calls for people of faith to question the deity of god, which is something essential and fundamental in the Muslim tradition, where people ought to not only believe in god but question our intellectual faculties to come to that conclusion".
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com