This graduate thesis presents three theatrical adaptations of Agota Kristof’s Trilogy through two main chapters. A purposeful presentation of its three short novels (The Notebook, The Proof, The Third Lie) in the first main chapter is accompanied by a detailed analysis of the novel's features that also form the basis of its stage adaptations. These features include the importance of writing activities with the aim of creating reality, the motif of borderline experience as a state of being, the levels of real, moral and narrative transgressions, and the comparison and interference of hidden spatio-temporal references with the audience's historical readings of the novel. In the second main chapter, the theatrical adaptations of the Trilogy are thoroughly discussed, which includes the following plays: It Doesn’t Hurt! (Nem fáj!) from 2002 performed by the Hungarian company of the National Theatre in Subotica, The Notebook (A nagy füzet) from 2013 performed by the Forte Company (Forte Társulat) in collaboration with the Szkéné Theatre (Szkéné Színház) from Budapest, and The Notebook (Velika bilježnica) from 2016 performed by the Zagreb Youth Theatre (Zagrebačko kazalište mladih). The analysis of these stage adaptations examines, first of all, the history of their origin, the narrower and broader context of the above-mentioned companies, the directorial concepts about the novel's relevance, and various audiovisual stage elements (scenography, props, costumes, music, sound effects, acting language, word usage and gesture selection) that determine the setting, the location and the time period of the novel’s plot. The thesis further seeks answers to the question of how the change of literary genre affected the interpretation of the Trilogy in each city, how the performances relate to the dominant universality of the novel and its lack of spatio-temporal references, and how the hidden chronotopic content elements are interpreted. The primary goal of this thesis is to determine whether these stage adaptations place the novel in a real historical context or not and by what means. At the end of each subchapter, a large number of reviews of the performances are presented, with special reference to their interpretations of spatio-temporal coordinates and other references within the Trilogy, as well as comments on the novel's topicality in contemporary society. The comparison of the interpretations of theatre makers and critics of Hungarian and Croatian cultural origin are also subject of detailed analysis in order to establish the way the literary pretext appears on stage - as a parabolic model of existence or as a print of a specific period. The conclusions of the thesis are supported by references and quotations from the novel, research and interpretations of theatre and literary historians, remarks and explanations of critics, and the writer’s and the directors’ own statements.