In 1989–1995, during his first job in the Goose on the String Theatre in Brno, he participated as director in productions of 1980 or How Lukáš V. or Marysha. A distinctive ten-year-long period in the Klicpera Theatre followed and he enhanced the theatre it was on the countrywide level. The company received the Alfréd Radok Award four times as the Best Theatre. The first success was the cycle of four plays – the project Antelope Nights (1997/1998). Another project was God Save William Shakespeare!, all playable productions of the playwright (Romeo & Juliet, King Lear, Hamlet, Othello, Cassio and Desdemona). The project Chekhov for the Czechs, followed – the cycle of three A. P. Chekhov’s productions staged in 2001-2004. From 2005 to the end of 2017, he was the artistic director of the Goose on the String Theatre and also continued in the tradition of thematic projects with more parts. The first one was the project One Hundred Years of the Cobra, the adaptation of Dostoevsky’s novels and eleven-hour-long scenic fresco. The production of A Ballad for a Bandit, with the guest performance at the Petersburg Theatre at Vasilevsky Island. In 2012, he played simultaneously the international version of Circus Havel at festivals in Avignon and Villeneuve ten times. He also worked in various places in Europe. His production of Turandot in Gothenburg opera is famous as well as the adaptation of F. M. Dostoevsky’s short story A Gentle Creature for L‘Apostrophe Theatre in Paris.
He has received many awards, such was the Czech Literary Fund Foundation award for 1998 for the Antelope Nights projects, Sazka Award, Theatre Newspaper Award for the 2002/2003 season in the category of drama for the project Chekhov for the Czechs or Czech Lion for the best film, directing and script of 2003 for the movie Boredom in Brno.
He graduated from JAMU in Brno, he is currently a freelance director.
“In the merger of today’s concrete reality and ‘staging the theatre’, he perfectly fulfilled the ‘hypertextual principles’: unexpected visual and acoustic relations were born and they put not only Treplev’s effort, his ideas as theatre as art in a completely new contexts and offered rich connotations as ‘pragmatic’ non-conceptual features of the meaning with the emphasis on their extension. Regarding visual and acoustic levels, these features always appear in Morávek’s performances. They are of an extensive nature and refer to many phenomena in its extent and relations. They resist the interpretation as a conceptual explanation[...] It is a huge amplification of stage materials, which is often intangible.“
Jan Císař, Svět a divadlo