THE TRIAL Franz Kafka wrote his famous novel in 1914. Against his express wishes, his friend Max Brod published the unfinished work in 1925. Petr Bezruč Theatre presents a new stage adaptation of Kafka’s The Trial, based on the original German version and directed by its artistic director Jan Holec. Holec explains his approach to this iconic work of modern world literature as follows: ‘The Trial is a meticulously built psychological novel that reveals its plot in allegorical scenes. In this context, the trial means a man’s journey to maturity and self-liberation from a world he cannot accept. The court trial thus reflects the common patterns of social life and human relationships, where people are trapped in power plays of mutual dependence that chip away at their freedom. But how and where to find freedom? Is it possible to live without laws? Kafka explores the metaphysical essence of modern human society and reveals its possible dangers. This harrowing drama is ready-made for a stage adaptation.’
In The Trial, Franz Kafka slams bureaucracy. Jan Holec goes even further in his production. Much like authors who imagine dystopian worlds we don’t want to live in, Holec portrays a social system that threatens everyone and is driven by monstrous forces that rule over everyone’s life and death. Forces stripped of any trace of humanity, distant and deaf to the real problems of ordinary people.
– LADISLAV VRCHOVSKÝ, ostravan.cz
Holec uses innovative theatrical techniques, yet he remains true to the spirit of Kafka’s text. The expressive and focused acting of the ensemble reinforces the production’s message about contemporary society and the role of a person who rebels against the incomprehensible world and the oppression that restricts his freedom.
– MILAN LÍČKA, i-divadlo.cz
In his interpretation of Kafka’s masterpiece, Holec searches for transcendental overlaps and manifests an intention to convey a topical message, all with a clear respect for the original work. Classical literature thus serves as a means for a purely contemporary dialogue.
– PETR KLARIN KLÁR, Divadelní noviny
Josef K., portrayed by Jáchym Kučera, is not quite as surprised as his literary counterpart; he seems to know how the system works, and his resistance is more vigorous. Kateřina Krejčí plays the roles of three women with precise timing and a kind of minimalism that is deeper than it seems.
– JAN KERBR, Lidové noviny
JAN HOLEC (1988) He holds a degree in direction from the DAMU Department of Dramatic Theatre in Prague. During his studies, he founded the Spektákl Theatre, joining actors of the same generation (their productions included The Coming to Wisdom of Don Quixote; Chronicle of a Death Foretold; Humiliated and Insulted; Solaris) and found their home at the Švanda Theatre Studio in Prague. He regularly collaborates with independent and established traditional theatres in Prague (A Studio Rubín, Letí Theatre, Švanda Theatre, Masopust) and in regions (South Bohemian Theatre in České Budějovice, Klicpera Theatre in Hradec Králové, Drama Studio in Ústí nad Labem and National Theatre in Brno). He has served as the artistic director of Petr Bezruč Theatre since August 2019. For his directorial debut in Ostrava, he chose his own stage adaptation of Mary Shelly’s novel Frankenstein. Next came his original production The Bezruč Ensemble in 60 Minutes, created during the Covid lockdown in spring 2020, and a stage adaptation of Miloš Forman’s film A Blonde in Love (together with dramaturge Anna Smrčková). He also adapted for stage and directed The Brothers Karamazov, which premiered at Petr Bezruč Theatre in December 2021. In the 2022/2023 season, he directed his own adaptation of Kafka’s The Trial and Florian Zeller’s drama The Father.
PETR BEZRUČ THEATRE in Ostrava is a renowned Czech theatre ensemble, whose outstanding artistic performances are often ranked among the top in prestigious theatre polls. While its core audience consists mostly of young people, high school and university students, the theatre also attracts older generations. The theatre’s dramaturgical concept focuses on original productions, including contemporary interpretations of timeless classics, the discovery and presentation of new plays, stage adaptations of ‘iconic’ literary and film works, as well as works reflecting regional themes. The Bezruč ensemble is a regular guest at the Divadlo festival; in recent years they have presented successful original productions Trannies, Points, Seconds and Špinarka, both written and directed by Tomáš Dianiška.
