Citizen Josef K., a bank clerk, single, lives in a boarding house. One bright morning, on his thirtieth birthday, he is accused of a crime unknown to him.

The play deals with the mechanism of the establishment that determines the fate of the small citizen without him being able to defend himself against it. The mechanism has no face and no address. After several attempts to reach the establishment, there is a seemingly sense of progress, but in fact, it is a standstill that causes the citizen to be completely exhausted and surrender.

The stage and visual language of the show are based on a minimalist style. Everyday actions such as making an omelet, doing laundry, lighting a match, or eating an apple are transformed into a stage event.

Six-meter-high columns and fluorescent fixtures divide the stage into interior spaces, creating a sense of a labyrinth. The transparency of the material from which the columns are constructed creates the illusion of a stable, upright column that is at the same time fragile. The characters can see each other through the columns. There is no privacy.

A videographer penetrates every situation in the play and follows Citizen K., so that he appears on a large television screen from different angles.

The concept for the adaptation is based on the idea of metamorphosis in the literary work The Incarnation by Franz Kafka. Each actor in the play plays several characters, which are a result of one another, with the exception of the actor who plays Citizen K. and the photographer.

The mechanisms of invasion and the ability to penetrate the privacy of each person are at the heart of the relationship between the establishment and the ordinary citizen. In our time, this issue is more complex than ever. The visual language intensifies this as an event within an event during the performance.

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