Miloň Čepelka

The Lavicka's, a Czech family from the city, rents a house in the country with the option to buy. However, old Mr Komarek seems reluctant to sell the house as they agreed.

Capturing the dark humor of Czech author Michal Viewegh's chronicle of life after the Velvet Revolution, this black comedy chronicles three decades in the life of a small Czech family. While the original novel centered on the protagonist Kvido from his conception through his adulthood, first time director Petr Nikolaev and screenwriter Jan Novak changed the focus to his parents Milena, an extremely self-effacing lawyer who acts on stage in her spare time, and Ales, a rather aimless government worker who tends to drift wherever the wind takes him. The lives of Ales and Milena change dramatically following the Russian invasion of Prague in 1968.

It is April 1945, spring begins and ends the war. German transport heading away from Bohemia.

Jára Cimrman in the whirlwind of the past forty years, as discovered, recorded, and brought to life by the theater.

When late in life was presenting Cimrman his artistic activity, came arresting knowledge: none of the works he had signed, not recognition. And so he decided to retreat to the anonymity of the author and become folklore. Clairvoyantly recognized that the modern era marked for extinction of folk creativity in areas such as the national song, story, legend, proverb or weather lore. The only thing from the oral folklore of die and stay alive is an anecdote. And she plays a significant role in his play Lijavec.

A sincere provincial young man, Frantisek Koudelka leaves to work in Prague. For the trip he buys a computer made horoscope with biorhythms charts, marked according to his date of birth, there are trappy, precarious, unsuccessful and even critical days and few successful days. The clumsy luckless person Frantisek has finally a guidance for his life.

The play itself tells the story of a harrowing journey aimed at restoring Princess Goldilocks’s feminine beauty—she had been enchanted by the evil giant Koloděj. In the first scene, Prince Jasoň arrives at the royal castle and discovers that his beloved bride—Princess Zlatovláska—has (thanks to Koloděj’s magic) a beard and a foot size of “45.” Jason decides to free Zlatovláska from the evil curse, and together with her, her royal father, and Bystrozrakým, he sets off to see Děd Vševěd for advice on how to deal with Koloděj. Watching everything from afar is Jasoň’s twin—the evil Prince Drsoň, who is preparing to intervene at the right moment and claim the princess for himself...

Two passenger cars went to the team in Prague Cimrmanologists Liptáková in Jizera mountains to explore the rugged region Cimrman age. Already the journey itself was an adventure, but the result was worth it. The restaurant at the Orphans restored mural researchers Cimrman handwritten inscriptions in the old hoe handle up his anti-Habsburg discovered pamphlet "Its not hide the truth."

Three passengers are traveling in the luxuriously appointed saloon car of an international express train: the famous Czech police inspector Trachta, the industrialist Meyer, who manufactures everything needed to keep warm (fur coats, rum, fireclay bricks), and the factory owner Bierhanzel, a manufacturer of hair-thickening ointment. At the Istanbul station, the trio is joined by the inspector’s protégé, police trainee Jindřich Hlaváček, who is finishing his thesis on train crime. The journey proceeds smoothly until factory owner Bierhanzel is struck by a toothache...

The impetus for writing the play was a real event - the investigation of the loss of the class register at a boys' school in Vienna's 4th district. The perpetrator was most likely a student named F. Kirchner. Cimrman was a police inspector in Vienna's 4th district at the time, and the school principal turned to him when all educational measures had failed. Six police officers followed the suspect for three days, but to no avail. Cimrman therefore decided to influence Kirchner in a different way: he wrote a play about the theft, which was staged by the police department's drama club as a compulsory school performance. The author expected that seeing the suffering of the teacher, principal, and inspector during their futile investigation would lead the culprit to regret his actions and confess. However, the stubborn boy, the son of a nun, was not moved.

The small group of actors have to face many problems while preparing a new performance.

The holidays of Vince Adamek, a student of the agricultural school in his native village in South Moravia, are purely working. He likes his job as a zootechnician so much that he seems to turn down an assistant position at the university...

This traditional seminar will introduce you to the most basic facts about Jára Cimrman. The ensuing play will show how difficult it is for some people to come to terms with new knowledge from their past.

Poverty was one of the many unfortunate aspects of Cimrman's life. His traveling theater company, Lipany, suffered from high actor turnover. If an actor's departure was agreed upon well in advance, the situation could be managed. However, if it happened with shouting and slamming doors, often just a few hours before the performance, the troupe and its director experienced some tense moments. Such experiences form the backdrop to the play. Lovers of the work of this unrecognized Czech artist are now able to access testimony from this area of the master's life, in which his destiny was most fulfilled—the theater.

The Jára Cimrman Theater staged its first premiere exactly 50 years ago, on October 4, 1967. Its members celebrated the half-century anniversary with a special program that included scenes from plays by the trio of authors Cimrman, Smoljak, and Svěrák, which have since become cult classics. Psaní do nebe (Writing to Heaven) is a letter written by Zdeněk Svěrák to his long-time friend and colleague Ladislav Smoljak in connection with the 50th anniversary of the Jára Cimrman Theater. It became the backbone of the entire gala evening at the Žižkov Theater. The performance also included excerpts from productions and a number of other items.

On the occasion of the opening of the famous Vienna "Riesenrad," a competition was held for the best operetta. A Czech, Jára Cimrman, also submitted his entry, a sweeping seven-hour work entitled "Proso." Due to what was perhaps his only negative trait, a slight stinginess, he did not send the score by registered mail, which allowed Franz Lehár, Johann Strauss, Oskar Nedbal, and other members of the jury to literally tear apart the brilliant operetta fresco. After many decades, a team of Czech Cimrmanologists has proven that the author of the world-famous melodies from Die Fledermaus, Polská krev, and many other operettas is the forgotten Pojizeřan Cimrman.

It is well known that Miloň Čepelka plays (not only) female roles in the legendary Jára Cimrman Theater. What is less well known is that, alongside Jiří Šebánek, Zdeněk Svěrák, and Ladislav Smoljak, he is one of the founding members of this groupe of researchers, which is studying the career of the fictional genius from Liptákov. In addition to his roles in theater and film, however, Miloň Čepelka is also a poet developing the ancient Japanese form of haiku, a prose writer, and a lyricist devoted to a wide range of musical genres, from pop hits to brass band music.