Georg Büchner's three classic pieces (Danton's Death, Leonce and Lena, Woyzeck) are played in almost every theater in the world. Woyzeck was the last work of Büchner, who died in 1837 and did not finish due to his death. The five remained fragments of the work were inspired by a murder in 1821: a jealous barber killed his lover with seven daggers and was later publicly executed. Contemporary newspaper articles and forensic medical records have become the starting point for Woyzeck's tragic story. The piece has been processed in almost every genre (film, opera, musical), but it is always a great challenge for the directors.

The craze is called Woyzeck. He is vulnerable by his environment, who, while fleeing inside, creates his own mythology. It is no crazier than the others, but exists only by a peculiar internal logic that it tries to avert its vulnerability: unsuccessfully.  The constant desire to break out in the interpretation of Szilárd Dézsi is, that life is based on the idea of ​​a big stunt, complete with a chain of small stunts. Another special feature of the performance is the extraordinary space management: studio-play on the main stage, the empty auditorium is also a “participant” of the performance.

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