Programme Leaflet - Divadelná Nitra 2018 (.pdf)

Komedie Theatre, Prague , CZECH REPUBLIC

Johannes Urzidil, David Jařab


direction: David Jařab


September 24th, 2011

16.00 - 17.30, 21.00 - 22.30, without intermission

Andrej Bagar Theatre – Studio

language: Czech with Slovak and English subtitles
The Breakfast With... Martin Finger, main character, Sunday 25 September 2011, 10:45 – 11:30, Meeting Point, presented by Ján Šimko



The story of a man whom Lady Bad Luck has smiled upon

The Komedie Theatre, one of the most progressive theatres in the Czech Republic, has over the past few years received the highest number of nominations for best production and best acting in its homeland. In 2010, it again received the Theatre of the Year award. Most credit for the ensemble’s rise to fame is due to directors Dušan D. Pařízek and David Jařab. It is the latter who penned the adaptation of Weissenstein, a novella by Johannes Urzidil, a Prague-born German-language writer. Like his contemporaries and friends Franz Kafka, Max Brod and Franz Werfel, Urzidil has the ability to relate the stories of lost existences and hopeless lives with an incredible delicacy and force.

Karl Weissenstein was a real – if somewhat odd – figure who lived in Prague during the First Czechoslovak Republic and moved in a circle of expressionist writers. David Jařab has masterfully managed to capture the zeitgeist of an era and identify what is at the core of this comparatively lengthy tale about an outsider cursed with bad luck, thus creating a timeless and powerful tableau of life, guilt, and one’s journey toward death. A particularly interesting scenic device used by Jařab is the splitting of the main character into three separate selves: as a result, three actors, Jiří Černý, Martin Finger, and Stanislav Majera, represent not only three of Weissenstein’s points of view, but also three of the faces he showed to the world.


S podporou:    




The Komedie Theatre, which belongs to the most progressive Czech stages in the field of introducing Czech and German plays, is returning to Divadelná Nitra after two years. (They played here in 2009 and staged
Kafka’s The Trial). Once again, with a dramatisation of a prose, with an author who had been part of the Prague German-Jewish community. This time, it is not Franz Kafka but his less known fellow playwright Johannes Urzidil. This writer, partially connected with Slovakia as well (in the late 1930’s he collaborated with the Bratislava journal Forum), was a member of the Prague expressionist movement – in the café Arco he got to know Franz Werfel, Max Brod and many other representatives of Prague cultural life between the two world wars. Also Karel Weissenstein was a frequent visitor of Prague artistic cafés of the First Republic.
This real life figure of the cultural environment of the day, congenial with the expressionists in particular, appears in several works of contemporary literature. A hydrocephalic, whose existence is only a set of temporary solutions, searching in vain for a frame tie and staggering through life. Johannes Urzidil is describing this strange figure in his approximately one hundred page prose. The text has been dramatised by David Jařab who staged the play as part of the exclusively German season in the Komedie Theatre. The dramatisation makes the story more intimate. We hear about several characters only in Weissenstein’s replicas. The story is compressed into several main dilemas and turning points in the life of the main protagonist. Critics often appreciate actors‘ achievements, as representatives of Weissenstein’s character which is split into three parts: Jiří Černý, Martin Finger and Stanislav Majera offer three views of the world, but also three faces which this strange man is showing to the world. An almost childish simplicity, a charm and purity are contrasted with egocentrism and selfishness which are characteristic of the main protagonist. Urzidil’s Weissenstein is not a helpless man lynched by society for his alternative way of living. His main problem is his inability to take responsibility for his own deeds. Although he indirectly causes the death of three people, he is not able to admit his share of guilt openly. As for ideas, the production Weissenstein offers that which is most typical and characteristic of Prague all over the world. It depicts the atmosphere of the capital of Czechoslovakia of those days where Czech-German Jews represented the cultural elite. From the theatre point of view, the production offers that which had made the Czech theatre different from other theatre cultures. It was the German rational perception of theatre art filled, however, with Slavonic emotions.
Miroslav Zwiefelhofer



direction, set design, dramatisation: David Jařab
translation: Božena Koseková
music: Ivan Acher
singing live: Jana Šrajerová Vébrová
costumes: Kamila Polívková
characters and cast: Weissenstein: Jiří Černý, Martin Finger, Stanislav Majer, Vlasta: Dana Poláková, Filoména: Ivana Uhlířová




David Jařab (1971) studied direction at the Janáček Academy of Performing Arts in Brno, Czech Republic. From 1993 he was active at the experimental stage Hadivadlo in Brno, Czech Republic, as a director, author and finally artistic director. Later on, in Prague, he worked as a free lance lecturer, script writer, translator, TV and theatre director. From 2002, along with Dušan D. Pařízek, he became a leading personality in the Komedie Theatre as a director and home author. He is the author of more than 10 original and adapted theatre texts, 30 composed literary and drama evenings and full feature staged productions. Lately: A Legend about a Drunkard, according to Joseph Roth’s story, Oil Lamps, according to the novel by Jaroslav Havlíček, The Sufferings of Prince Sternenhoch according to Ladislav Klíma and others. In addition to theatre direction and playwriting, he is active in visual art, stage setting and authored films. His full length feature film Vaterland – A Hunter’s Diary had its first run in 2004. Jařab was awarded the Prize of the Literary Fund for it as the best film in 2004 and the Prize of the Film Academy „The Czech Lion“ for visual art work in the Czech film in 2004.



From Urzidil’s story David Jařab has dissected the most essential story line and some replicas. Those who are familiar with the one hundred page text must just curtsey when they see how cleverly Jařab has done it. How he has cut off everything „literary“ and set each used word functionally into the theatrical form. It has a form of a small stage simple story in which Karel Weissenstein is performed by three identically (and excellently!) made up actors. Maybe Jařab was prompted to do it by the protagonist’s remark that “I have sometimes had such spells when I was experiencing myself in double.”
Josef Chuchma, Mladá fronta dnes
Karel Weissenstein is not a schizophrenic or a lunatic, he is only a wretch and a chicken-heart. To avoid facing things is one of his most pronounced life motifs. He avoids facing himself too, as is illustrated by one of his sentences towards the end of the play, which may also sound familiar to the viewer: „All my life I have tried to be someone else, because I was lacking the courage to be myself.“
Petra Hůlová, Divadelní noviny
The director of the production Weissenstein David Jařab has principally reworked the text of the story: in a remarkable dramaturgical adaptation he has shortened the more than one hundred page story to a ninety minute theatrical form..., transformed the extensive statement of the main protagonist Weissenstein into a powerful reduction.
Věra Ptáčková, Divadelní noviny

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