Hello? We'll add everything, don't worry. We'll add everything. We'll add potatoes. We'll add corn. No, no, we won't add it, we don't have it. We have it, but we won't add it. I'd like to take care of your old age. Maryska, is that you? Maryska, is that you? Maryska, is that you? Maryska, please, can you see if the door is open? In what barn? In what barn? He's supposed to sit in the opera house! Please, send him to me immediately. Yes? Greetings, Mr. President! Welcome, Albin, sit down. What's up? Listen, Albin. What the hell were you doing in the barn? It's still bothering me. I was walking around, looking around. Looking around? I transferred you from the barn. Transferred? Where did you transfer her? To the opera house. And since I transferred her, it's been a mess there. Where? In the barn? No, in the opera house. What? The barn has been a mess for a long time. What do you mean, a mess? We're going exactly as planned. Exactly. We've already built huts with all the salt. Of course, the orchestra will get the huts later. We're thinking about them, too. And who was working on the huts? Vojáček? Oh, come on. It's not about the huts, it's about art. What art? Look, I'll tell you right away. You have no concept in this opera house. I don't have a concept? No, you don't. I don't have a concept? No, you don't. And last night, Lord, what did I give you? The paper? What paper? I gave you a sheet of white paper. You put it in the barrel. This? Oh, come on. This is my whole dramaturgical plan for next season. This is all in black and white. Bohemians, aides, comedians, and a Hasidic ball. I've already sold it. However, there were also the most Hasidic wins against it. Against the Hasidic? But the Hasidic is fine. Against the Bohemians. Vojáček's? And what doesn't she like? Puccini. Puccini? And what? Isn't he pretty good? Apparently, that's not the right name. Puccini, Puccini, but he's Puccini, isn't he? Aha, Puccini! And we're home. Should I rename him or what? She didn't like the fact that Butterfly is a woman. And I was just a little shy, and you all got used to it. I still can't stand that woman. But please, don't get mad at me. Vojáček's is responsible for the whole joint production. And the opera belongs to the joint production. To the adult production. Adult? Opera? Yes. What did you say? Vojáček's? Yes, that's it. That's it. Mr. Chairman, I assure you, there's no opera anywhere. Nowhere, not even in Oščadnica. And we fought hard for it. And if there's a woman in the dramaturgical plan, Bohdan won't be there. But Vojáček's is responsible for the whole joint production. For what? Look at this. But there's no contribution in the dramaturgical plan. Then where do I get it from? Nobody writes operas anymore. Nobody, nobody, nobody writes operas. I've been to Bratislava. Nobody. Nobody. Nobody does it for me. But if Vojáček's is so wise, let him write an opera himself. Or you write something. Well, I'll write operas. And who will do it in the vineyard? That was the speech. We'll have an opera. We'll have an opera. It's all on me. I'd rather give up on it. Let's leave it like this. Let's leave it like this, please. Now I'll ask you a question. Take it. Listen. How are the rehearsals for Traviata going? I'm in trouble with Prndlín. I heard. Vojáček's? What are you mumbling about? I'm not mumbling about anything. I'm not mumbling about anything. She said when you brought the tenorist from far away, prepare him for the artistic conditions. Vojáček? Vojáček is on the head, just like you said. He gets a meal 17 times a day. 17 times a day, you damned Italian. I'm sorry, I mean damned. Damned, please, damned. How much do you give him? 5 kilos for the rehearsal and 20 kilos for the performance. As we agreed. But if he doesn't have enough potatoes, give him some more vegetables. What are you doing? Where will I get them? Where will I get them? Where will I get the vegetables? Here you go. This is for him to cool down. Salad. We'll talk about it later. Do you have anything else for us to present? I have to paint all the windows in the evening. I do. You look old, Albin. Vojáčeková. Matuščinová from ballet, but he signed the whole set anonymously. I know that. It's about the heaters. What heaters? Last time I was in a burnt-out hotel, we all had to sing Troubadour in the heaters. No, no, no. There's nothing about the heaters. Look. And we express our dissatisfaction with the workers of the joint production with Šibrány, which is entrusted to the leading opera house in our village. Šibrány not only systematically denies our donations, but in recent times they have become negative to the whole message of opera art that is being expressed. So in the last seven performances that we have studied in the short term as our collective commitment... As MEDEŽEZ, it is impossible to perform our function to a worker, so we played all seven performances of this world-famous opera with a tightened tire. We wish you all the best. Well. So tell me, what did the people who bought the tickets to the world-famous opera say to us a week after they saw the tire? What did they say to us? They didn't say anything! They didn't say anything and when you start this harsh problematic, I will make it a harsh reality. Chairman, we have no audience. What? Nobody was there? Nobody was there. And how is that possible? I don't know. And I did everything exactly according to the plan. Every day I went to the local radio station twice a day and then on Saturday and Sunday I played seven times a day. I said to Lida, hello, hello, here is the local radio station, don't worry, and nothing. Audience, chairman, I have a chair under the minimum. And if you remember that we had beautiful results in terms of audience, I have this in my notebook, take a look, this, seven spectators, nine spectators, eleven spectators, it was our absolute personal world record. And you didn't hear anything. So don't be surprised that I told this gentleman, Hlabáčkovič, what's his name? Pagáčík. I told Pagáčík not to open the tire. But what are we going to do, what are we going to do? I suggest to go to Peru for a while. Well, you say to go to Peru for a while, but what about these people, they are like dogs. What, what, what, what, Bora, Balet, to Zivočiště, the soloists, to the administration. And Prndolín, let him go from there where he came from, to Materiné. And what about Vojáček? What about Vojáček? What about Vojáček? He is not in charge here, we will put him in the district, let him establish agro-philharmonic there. Chairman, don't hang your head, it will be somehow. For now, I say goodbye to you. Goodbye. It's coming, Malina. It's coming.