a performance inspired by the stories of Danilo Kis
Encyclopaedia of The Dead is inspired by the short stories of the late Yugoslavian writer Danilo Kis. A combination of physical theatre, story telling, clown, original live music and song, this ensemble production explores the themes of nationalism, identity and the relationships between history and fiction.
Encyclopaedia of The Dead had premiere in Prague on June 2, 2001. Elements of history setting, mystery and chance are interwoven through four of Kis's stories with central narrative that roughly traces the tumultuous history of the infamous ani-Semitic forgery The Protocol of the Elders of Zion.
Through war and peace, social upheaval and ultimate horrors, ideas printed on paper have coaxed, tempted, inflamed and guided mankind. However grandiose themes, Encyclopaedia of the Dead animates these stories on a personal level by delving into the joys, sorrows and intentions of individual characters whose combined actions culminated in the unimaginable. It is parable, which illustrates the dangers of dividing the world along the lines of "us and them."
Visually stunning, fast paced and provocative, Encyclopaedia of the Dead also incorporates elements of humour and of the absurd, which make it immediately accessible to audiences unfamiliar with the historical elements. Six languages and as many nationalities are represented by the international ensemble, which tailors the story to each unique locality and reaffirms the universality of the message.
The Encyclopaedia of the Dead is the first of five productions that form the Labyrinth Project, a series of new performances exploring knowledge and belief through the influence of resonating myths at the intersections of history and fiction.
".... they are a source of morality and uniquity, grace and transgression. Books in quantity are not dangerous; a single book is."
"We have before us what must be a singular phenomenon in world literature. A most strange book exists. It has been translated into all major languages . It has been massively distributed throughout the world and endlessly commented upon. Numberless articles for and against it have been written. And yet no one knows the author, its original language, when or where it was written and how it was unearthed. None can say with absolute certainty where and when it was first published. Nobody can even boast having seen a copy of first edition. We are not speaking of a work from grey antiquity, written in hieroglyphics and found in some Egyptian pyramid or on cuneiform tablets from the treasure chamber of an Assyrian king. No, the book was written in one of two languages spoken by several million Europeans. The originator Nilus, with whose name the book is connected, lives among us today in the city of Kiev, a few hours by plane from Vienna or Berlin."
For more information on the show as well as on the theatre company, please visit http://www.divadlo.cz/miloco.
In co-operation with Graffiti Theatre Company, Cork and Divadlo Miloco, Prague.
Everybody is welcome.
Here is a review by Irish Times from 6th December 2001:
The Czech company Divadlo Miloco is at the Crypt, for a very short run, with an original work based on four stories by the late Yugoslavian writer Danilo Kis. The production incorporates six languages and as many nationalities, a mélange that fits perfectly into the universality of its theme and devices. Encyclopedia of the Dead is an enormously impressive stage accomplishment.
It is structured as a succession of fast-paced scenes, opening with a tearful young woman exploring a box containing letters, photos and a prayer book. Then there is a prisoner in a cell, followed by a mob and a hanging. Soldiers shiver beside a fire, sing together and flow on into savage violence. There is a sense of individuals submerged in great social upheaval.
Books become a constant reference point, from social histories to Mein Kampf. A series of sketches and tableaux depict people inspired and bemused by the knowledge within them, and sometimes seduced by perverted ideas; the anti-Semitic forgery "The Protocols of the Elders of Zion" creates its own apocalypse.
Kis is quoted as saying that "Books in quantity are not dangerous; a single book is." One does not have to understand fully every polyglot reference or mimed action; what is on offer is at all times open to, indeed invites, interpretation. Themes of nationalism and identity, of history and fiction, are explored in an open-ended manner. The audience may, if it chooses, simply go with the flow of ideas and diversions.
The production's style is an infectious blend of slapstick and satire. Chaplin is there with the Keystone Kops; phoney religion and social pretensions are debunked. There is a bubbling laughter throughout supported with music, harmonious song and choreographed movement to beguile eye and ear.
All these are delivered by a company whose individual talents are quite stunning - there are manifest stars here - and brilliant in ensemble. Their work is a joy to experience.