Kafka's The Trial as Yiddish Vaudeville: A Masterpiece in Berlin

Kafka's The Trial as Yiddish Vaudeville: A Masterpiece in Berlin

The premiere of Barrie Kosky's production of “The Trial” at the Berliner Ensemble represents an outstanding cultural highlight. This innovative piece interprets Franz Kafka's best-known novel in a way that is both humorous and profound. The performance, which premiered today, September 28, 2025, is designed in the style of a Yiddish vaudeville theater. Kosky, already known for his experimental productions, aims to establish a connection between Kafka's work and Jewish culture, which is often pushed into the background.

In this reinterpretation, the protagonist Josef K. is portrayed as a prancing, vulnerable clown. Kathrin Wehlisch brings this role impressively to life and interprets the famous first sentence of the novel with a mixture of seriousness and comedy. The production contains slapstick elements and grand gestures, which, together with supporting characters such as Miss Bürstner and landlady Grubach, contribute to the comedic effect. Kosky sees Kafka's “apparatus” not as mere bureaucracy, but as a symbol of Judaism and transforms the stage into a synagogue after K.'s arrest.

Creative musical elements

Musical components also play a central role in this production. Bach chorales in a jazz version and Yiddish songs interweave to create an exciting sound experience that highlights the emotional depth of Kafka's work. While the lawyer Huld does not appear, his voice remains present, which underlines the absurdity of the legal dispute. Particularly noteworthy is the inclusion of Constanze Becker, who integrates Kafka's “In the Penal Colony” into the ensemble. This decision not only addresses the severity of Kafka's search for meaning, but also refers to the persecution of Jews.

The performance is celebrated as a masterpiece carried by a strong ensemble. This production offers a fresh look at Kafka's complex relationship to his Jewish identity. The influences from Yiddish theater are obvious; As early as 1911, Kafka saw a theater performance by an Eastern Jewish theater group in Prague, which had a significant influence on him. These circumstances are reflected in the choice of actors and in the way the story is told - through a mixture of singing, dancing and dramatic elements.

The meaning of Jewish identity and culture

In addition to the comedic elements, Kafka's Jewish identity is also discussed. His life in Prague, a city that was once part of the Austro-Hungarian Empire, was marked by a constant struggle with his cultural identity. Kafka's parents spoke a Yiddish dialect, making the gap between his Jewish heritage and the German language he chose for his literary work particularly clear. His interest in Yiddish culture led to a deep exploration of the question of how Jewish voices could find expression in a dominant German culture.

Kosky uses these cultural tensions to make forgotten or lesser-known aspects of Jewish culture accessible to a broader audience. In doing so, he not only presents Kafka's own challenges as a writer, but also illuminates the timeless questions of identity and belonging that are important to many people.

With this production, the Berliner Ensemble shows that Kafka's work goes far beyond the literary world and is deeply rooted in cultural, social and historical contexts. The combination of elements of Yiddish theater and the absurdity of his stories suggests that Kafka's messages are as relevant today as they were during his lifetime.