performance length: 75 min
For ♪you’re♪ a jolly good fellow ♪♫ For ♪you’re♪ a jolly good fellow ♪♫ For ♪you’re♪ a jolly good fellow ♪♫ and ♪so say all of us!

Performance on 14th November is part of the NOVÁ GENERACE festival

From All Things Fairest We Desire Increase is the latest show created by D’EPOG Theatre, a progressive company based in Brno. The company is starting off its fifth season with a devised project making use of the approaches of physical theatre, drama, and performance art. The show is co-produced by Alfred ve dvoře Theatre in Prague, Stanica Žilina-Záriečie, and Industra in Brno, three important platforms for contemporary art.

Thematically, the show centers around festivity in contemporary society, people’s ability or inability to celebrate, have fun, belong, experience collectively. We are a society which needs to “chill” and experience something “special” from time to time. Every day is not a holiday and many days have yet to pass before we finally get our Friday. What do we celebrate, and how? Are holidays the time when we finally get to stop feeling bored? What catalysts do we need to enjoy ourselves? Do we need an escape from the everyday? Where to?

Directed by: Lucia Repašská
Performed by: Radim Brychta, Zdeněk Polák, Janet Prokešová, Zuzana Smutková and guests
Scenography, wardrobe: Matěj Sýkora
Dramaturgy: Matyáš Dlab

D’EPOG is a platform for contemporary experimental stage productions. The theatre’s activities are rather like lab tests. D’EPOG examines theatre & examines using theatre. The actor and space are the primary material used by D’EPOG to articulate its themes. The work of D’EPOG Theatre strongly accentuates the role of the spectator, the level of his or her interpretative freedom, and his or her share in creating the show’s meaning. D’EPOG coherently follows in the vein of the “dramaturgy of space”. Aiming to attack the limits of the viewers’ perceptions, it naturally experiments with all kinds of scenic space organization models – particularly the stage/auditorium relation.

D’EPOG set their projects in non-theatrical urban spaces that influence them thematically, ideologically, and conceptually: Heteronym Nin, a show which deals with obsessive self-exhibition, is set in an emptied gallery. Di_sein, a form which explores the meaning of theatre, was located in a factory hall scheduled for demolition. Probing into the theme of human freedom and poverty, Zahrada Crim takes place in an abandoned prison, while Ninivea exposes the idea of the cleanse, and the fragility of boundaries between the intimate and the public, on the terrace of a gigantic swimming stadium. The polemical Anglo-Czech show 121 occupies a hall called Little America, while the visual/iconic ∞ takes over the showroom at the Richard Adam Gallery.

In terms of genre, the work of D’EPOG Theatre rides along and across the borderlines between drama, physical theatre and performance art. The exploration of acting expressivity also holds an important position within the theatre’s activities, alongside stage work. Actor training, action montage, and energy management workshops make up a considerable part of D’EPOG Theatre’s “lab” activity.

D’EPOG Theatre received an honorary mention at the 2011 ...přiští vlna/next wave... festival for their “distinctly experimental original work between drama and physical theatre”. Actress Julie Goetzová received an Alfréd Radok nomination for Talent of the Year for her performance in the monodramatic diptych ŽENA OBJEKT/ ŽENA SUBJEKT (Heteronym Nin – Display Pastrana). The ŽENA OBJEKT/ ŽENA SUBJEKT project (Heteronym Nin – Display Pastrana) and the show NINIVEA were both nominated for Play of the Year by Divadelní noviny.

D’EPOG is: Lucia Repašská (artistic director, director), Matyáš Dlab (dramaturgy), Radim Brychta, Zdeněk Polák, Janet Prokešová, Zuzana Smutková (performers)

Other shows by the same collective: ∞, 121, Ninivea, Heteronym Nin, Zahrada Crim, Di_sein


Premiere: 23. 4. 2015, Industra, Brno.
Supported by/ Thanks to: MOTUS o.s. – producers of the Alfred ve dvoře Theatre.
The show was created with financial support from the Statutory City of Brno, the Visegrád fund within the Visegrad Art Residency Programme, and the Ministry of Culture of the Slovak Republic.