“LILA: The demiurge's secret play” is a puppet, dance, opera and shadow theatre performance for adults and youth. By denouncing the traditional literariness of Lithuanian theatre, the multi-genre performance reminds us of the universality of the Spanish baroque theatre. It forms an allegorical story of two complementary plots where the spectator is allowed to take a peek as if in the key-hole into the Earth that was born out of a single accidental idea of the Creator millions of years ago. It is an allegorical dream that universally tells us about the three bases of our existence that have reached the limit of their interrelationship – the man, the earth and the god.
The main axis of the performance is an attempt full of accidents and paradoxes by a lousy demiurge to create the world: the playful plot of kaleidoscopic images takes us inside the collective cultural conscience of the world while making fun of various cultural icons of their time. In the second part of the performance we are experience a futuristic and post-apocalyptic world where the forest spirits of the earth that was destroyed by man wake up and start to seek vengeance against the man who enslaved the world and has forgotten about the truth in his illusory war games.
The name of the performance “LILA” in Hinduism means the cosmic play of God-Creator which helps him create the illusory world just like a performance. The entire world, all of it’s images and phenomena, the entire universe is but a mirage of interchanging forms that occupy the man’s attention while the true reality remains inside him. The creators of the performance want to address this eternal confrontation between the man’s inner and outer worlds and ask the spectator: which one of those worlds is the real one, what can still be considered real, who is the author of this humane vanity?
The performance is inspired by the Lithuanian legends, Eastern mythology, the novel by V. Pelevin “T”, F. Dostoyevsky’s story “A funny man’s dream” and by “Suite of legends” by the Lithuanian composer F. Bajoras.
