Veteran Czech Actor Mirek Krobot on Five Decades of Stage and Screen, and a Return to His Roots
A celebrated figure in Czech theater and film, Mirek Krobot reflects on a 50-year career, current projects, and a renewed focus on his hometown of Olomouc.
For half a century, Mirek Krobot has captivated audiences with his compelling performances on both stage and screen. A prolific actor, playwright, and former artistic director of the renowned Dejvice Theater, Krobot describes the theater as “a natural way of existence and a way of life for me.” As the Czech theater season heats up, Krobot is engaged in a diverse range of projects, balancing established productions with exciting new ventures.
Currently, Krobot finds himself revisiting familiar ground at the Dejvice Theater, though his acting roles there have diminished. “All the elders arrived and the last was the game of the seagull, which we played for ten years and the show had two hundred reprises,” he explained. The production of The Seagull even enjoyed a cinematic release. He is currently performing in a family production titled Kuš, Svina at the theater’s café, a unique performance crafted from the letters of his wife’s parents, who hail from an old circus family in the Bohemian Forest. The production is a deeply personal affair, featuring his wife Hana, daughter Lenka, son Jan, and grandsons Simon and Eliáš.
Beyond Dejvice, audiences can see Krobot alongside Marika Šoposka in Scorpions of February at Studio 2. He is also collaborating with Klára Melíšková on Killer’s Hygiene, a thrilling new play set to premiere on October 24th at the Dejvice Theater. The play, based on the work of a Nobel Prize-winning author, centers on a journalist investigating a murder hidden within an unfinished novel. Krobot is also co-writing a play for the Olomouc Theater with Luboš Smékal, with plans to direct it in the spring. The pair will also collaborate with an amateur theater ensemble, Association 23, in Olomouc on a new production.
This renewed focus on Olomouc represents a deliberate homecoming for Krobot. “I come from the surrounding area and Luboš Smékal as well,” he stated. “And the amateur association we founded there continues.” While he enjoys working in both Olomouc and Prague, he affirmed, “I like that I can work in Olomouc and Prague.”
Despite a successful film career, Krobot is currently prioritizing theater. “I’m not going to [make a new series or movie], not now,” he said, explaining he’s taking a break from film to focus on Murderer’s Hygiene. He acknowledges receiving numerous offers but feels a stronger pull towards the stage. “Only at the moment is the theater more interesting for me,” he clarified. “For me, theater is more attractive than a film. It gives many more creative options against the film.” He describes the theater as a more natural environment, a space where he feels secure and comfortable after decades in the industry. He concedes that the uncertainty of theatrical work is a drawback, but ultimately finds the variety and lack of repetition invigorating.
When considering film roles, Krobot emphasizes the importance of character. “I can decide whether to accept the role or not,” he explained. “I will carefully consider each offer whether it will bring me something new and interesting. Above all, I am always interested in the character I should play.” He believes the screenplay itself is not a reliable indicator of success.
Reflecting on his most impactful work, Krobot fondly recalls the animated film Alois Nebel, directed by Tomáš Luňák, and the character of Pepík Hnátka from The District Championship. (Alois Nebel premiered at the Venice Film Festival in 2011 and won the European Film Prize for Best Animated Feature.) He also acknowledged a certain affinity for detective roles, noting they are often less demanding, primarily involving questioning rather than deep character exploration.
Krobot’s preparation for a new role is a meticulous process. He prioritizes learning the text well in advance, then delves into the character’s nuances, rhythm, and physicality. His preferred method of memorization is unconventional: “I learn new roles in the bathtub. This is my favorite place to prepare.” This process typically takes six to eight weeks, longer for theatrical productions like those at Dejvická Theater.
The success of the Dejvice Theater, Krobot believes, stems from its talented actors and intimate atmosphere. “It is in a certain acting poetics and also that our theater is small,” he explained. “The actors here are very close to the spectators. Here you really see every blink of an eye, a visit to Dejvice Theater is actually a bit of an intimate party.”
Krobot’s journey to the theater began in grammar school with a “fun” theater association. Faced with parental expectations of a career in medicine or law, he impulsively auditioned for JAMU in Brno, securing a place and launching his 50-year career, which began in Cheb in 1975 – a career that has coincided with a 50-year marriage.
Despite his enduring success, Krobot admits to feeling uncomfortable with the attention his fame brings. He recounted a memorable encounter on a train from Bratislava to Prague, where he was recognized by enthusiastic fans of the hockey team, the Comet Brno, following a broadcast of The Last Match of Pepík Hnátka. He briefly hid under his coat, only to be discovered, resulting in a boisterous journey with the team’s supporters.
Currently, Krobot is also exploring his passion for writing, though he remains tight-lipped about his current project, revealing only that it will be in the fantasy genre. He is currently reading fantasy literature alongside professional scripts and theatrical texts.
He champions the value of amateur theater, describing it as a “very clean form of theater” – original, unpaid, and driven by passion. He firmly believes that dismissing amateur productions is a mistake.
When seeking respite from his demanding career, Krobot retreats to his cottage in the Jeseníky Mountains, a place he’s cherished for 45 years. “I have a very strong relationship to the place and my family,” he said, adding that the self-sufficiency required to maintain the cottage provides a grounding contrast to the ephemeral nature of theatrical performance. He and his family maintain a Christmas tradition of gathering at the cottage, a ritual he eagerly anticipates.
