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    May 15th Mon, 7:30 PM – 8:50 PM | S-klub

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    Édouard Louis WHO KILLED MY FATHER Depresivní děti touží po penězích

    An uncompromising accusation of social conditions and social injustice as well as a tender love letter – in a stage adaptation of the exclusive personal confession by a star of contemporary European literature. An extremely physical performance by Daniel Krejčík in an intimate exposure directed by Jakub Čermák.
    Discussion follows.

    Ticket price: 250 / 150 Kč
    Despite all the depicted suffering and bitterness, it is a beautiful, intimate spectacle, dominated by the excellent Daniel Krejčík. (…) His performance is grounded in authenticity, which allows the audience to easily relate to his character. Together with him, you can experience an emotional roller coaster that will provide you with a relieving, but painful reconciliation at the very end.
    Veronika Holečková, Divadelní noviny.cz, 27 May 2022
     
    In the post-covid era, theatre is wondering what should be shown on stage at all. Venuše (ve Švehlovce) knows it: theatre needs strong, personal and identifiable statements that the audience will feel close to, that will resonate with them and take them out of the lethargy of everyday reflections. Who Killed My Father can do that.
    Barbora Schneiderová, Klackoviště.cz, 21 March 2022
     
    directed and dramatized by Jakub Čermák

    set and costumes Martina Zwyrtek
    production Jiří Dejl, Zuzana Juklová
    music Adam Kratochvíl
     
    cast Daniel Krejčík, Adam Mašura
     
    premiere 17 November 2021

     

    Jakub Čermák (1980), a multi-talented director, actor and performer, is known primarily as the frontman and founder of the art gang Depresivní děti touží po penězích. But he also works as a dramaturge of the Prague cultural venue Venuše ve Švehlovce and makes documentaries, such as short films about the LGBT community for Czech Television. He also organizes the WILD! festival – the only queer theatre festival in the Czech Republic. He studied directing at FAMU and DAMU academies in Prague and, thanks to a scholarship from the Robert Bosch Foundation, he spent a year at the Forum Freies Theater in Düsseldorf and participated in the International Youth Forum of the Berliner Theatertreffen.
    He started as a director of an almost underground art scene, but today he is one of the prominent personalities of the domestic theatre scene. His work includes updated retellings of classic dramas, as well as documentary, immersive and, most notably, experimental theatre. On stage, he is fascinated by sexuality because it affects us all, whether we want it to or not. He considers theatre to be a means of communication, so although he is associated with the bizarre and the eccentric, he does not seek to shock or disgust the viewer in the first place, but rather to arouse an inner discussion and a desire to discover.
    He has already won several awards for his work to date. At the Malá inventura festival (2020), he won the Czech Theatre DNA Award for his outstanding contribution to the field of alternative theatre, and from last year's Nová Dráma competition of dramatic texts, he won a bronze for his play Očistec si zaslouží každý (Everyone deserves a Purgatory).
     
    The independent art ensemble Depresivní děti touží po penězích (DDTPP) was formed in 2004 around young enthusiastic theatre artists such as Martin Falář, who later left the company, and the current head Jakub Čermák. Originally a student theatre connected to the improvisational movement, it has gradually developed into a respected artistic entity with a unique poetics. It strives to respond artistically to contemporary social issues and create progressive, formally fresh productions. The genre of immersive theatre is typical of their work – it requires interaction with the audience, who are given the opportunity to discover their own boundaries, and possibly even cross them of their own volition, e. g. Bordel L'Amour (2018). Their repertoire is based on distinctive adaptations of classic novels, as well as original texts that go beyond the realm of happening or radio broadcasting. Their aim has been to use art to animate unconventional spaces, which is why, before their anchoring as the home ensemble at Venuše ve Švehlovce (2014), they worked mainly in the field of site-specific. This is evidenced by their first ever production, The Seagull in Karlín, which was created in the then flooded Karlín Musical Theatre.
    DDTPP have been nominated for the Divadelní noviny Award in the category of alternative theatre several times, which they won last year for their production of Happy End at the Chateau Switzerland hotel and with their project Marie Stuartovna.

    Édouard Louis (1992), a leading representative of French autobiographical fiction, is one of the most acclaimed young writers today. Artistically, he follows the legacy of authors such as James Baldwin, Simone de Beauvoir and William Faulkner, but thematically he is most influenced by the French philosopher and sociologist Didier Eribon, whose book Returning to Reims marked a major turning point in Louis's journey to becoming a writer.
    His debut novel, The End of Eddy (2014), in which he describes his difficult adolescence with uncompromising honesty, attracted a great deal of media coverage and contributed to the reopening of the debate on working-class perceptions and the gaping social divides in French society.
    Literarily, he profiles as a rather left-wing author and repeatedly portrays in his works the humiliation and social exclusion that members of the working class have to face. Although he also names their ills – racism, homophobia, violence – he does not slip into passing judgement, but sympathises and defends them because they come from the same background.
    He has written five novels, the latest of which, Changer: method, a deeply personal story of disgust with one's own life and the constant need to remake oneself, will be published in Czech translation this April (was published in English in 2021).