Reseñas (1)
Before anyone starts getting angry about stealing from the famous theater of Jára Cimrman and his equally famous mystification, I recommend finding out something about Jiří Šebánek first. He was present at the very birth of the Czech genius Jára Cimrman, and it was he who came up with the name, and Smoljak and Svěrák considered him the "founder's father" of the theater. Although they started together, their paths soon diverged because they had different ideas about the humor surrounding the Cimrman character. Smoljak and Svěrák represented the mainstream. Their humor based on wordplay was more accessible, they were excellent screenwriters, and from the beginning, they aimed toward a project of a "grand" theater accessible to a wide audience. Šebánek did not fit the relaxed, cute humor of the author duo. He was interested in nonsense and absurdity, he was not afraid of provocation and darker, less understandable forms of humor. He lasted only three years in the theater and later joined forces with musician Karel Velebný, who was also present at the birth of Cimrman in the end. It was Velebný who announced at the end of 1966 on Czechoslovak Radio that a sensational discovery of Cimrman's legacy had been made in Liptákov. Velebný does not appear in television recordings because he died prematurely in 1989. This duo came up with the project Salón Cimrman. They can be considered typical alternative artists, performing on the club scene, and greater popularity eluded them - they did not even strive for it. The two parties did not compete but respected each other. The humor of Salón Cimrman was unpolished and had its ups and downs - unlike the Theater of Jára Cimrman, it clearly lacked someone who understood dramaturgy and directed performances with a firm hand. All of this can be seen in television recordings, but I still like Salón and consider it a pleasant addition to the Cimrman myth. Overall impression: 75%.
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