Psaní do nebe

Lijavec

1997

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.

Africa

2002

The fourteenth Cimrman play takes us to the heart of a continent almost untouched by civilization. Czech travelers encounter a strange tribe of cannibals and almost end up on their menu. The members of this tribe are unusual in two ways: their appearance and their extraordinary docility. These characteristics enabled Cimrman to solve linguistic and staging problems with an elegance that other world playwrights can only envy. If, say, G. B. Shaw had tackled such a theme, the audience would have spent 5 to 7 hours in the auditorium. Cimrman managed to do it in just one hour (not counting the introductory scientific seminar). For the first time in the history of the Jára Cimrman Theater, a live animal appears on stage.

The Nude

1998

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.

Cimrman in the World of Music

2006

The original score was in a sorry state: the notes were carelessly marked, the lines were broken, and the paper was covered in smudges. I took the utmost care in reconstructing it: I erased the smudges, traced the lines with a ruler, blackened the bellies of the quarter notes, and added tails to the eighth and sixteenth notes. I believe that today's version of the work will stand up to even the most rigorous standards.

Czech Heaven

2008

Dumb Bobes, or Czech Tarzan

1997

The result of a clash between two intellectual forces: the artist's irrepressible creative instinct and the equally irrepressible instinct of the small Czech self-sufficient farmer. While on the one hand we see an admirable effort to understand and portray the world and get to the essence of human behavior, on the other hand we encounter only a mundane effort to dry a few mushrooms for the winter. In the case of this play, Josef Padevět's small, bitter world unfortunately prevails.

Plum Tree

1997

One day in life of simple dispatcher who meets remarkable people. They want to harvest plums.

The Stand In

1997

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.

Blaník

1997

Cimrman sees the reason for the popularity of the Blanik legend in Bohemia mainly in the geographical location of our homeland. In agreement with Palacký, he was aware that "we are here in Europe like a grain between two millstones. From the west, German imperialism presses upon us, and from the east, the expansionism of the Great Russian colossus crushes us. It is no wonder that a small nation under such pressure seeks supernatural and even miraculous protection, for only a miracle can enable it to survive here."