After the end of World War I, he became active in politics and cultural issues and wrote the social democratic press.

He devoted himself to theater in the Dědrasbor (Workers' Drama Choir), which was a proletarian amateur theatre movement influenced by the Proletkult, and especially in Devětsil, in whose anthology he was able to publish his theoretical articles, which are generally taken as the beginning of the Czech theatrical avant-garde.

During the German occupation of the Czech Republic in March 1939, directors such as Emil František Burian, Karel Dostal and Jiří Frejka tried to show public signs of resistance in their direction with hidden allusions, accent and stretching in language and simultaneous facial expressions and gestures that however, did not go unnoticed by informants.

In the 20th century as well as international writers such as Guillaume Apollinaire, Jean Cocteau and Alfred Jarry, took to the stage.

The state demanded that more attention be paid to theatrical productions by contemporary Soviet authors and Honzl obliged in moderation.

Honzl wrote texts on the theatrical theory of the avant-garde theatre and was initially influenced by surrealism, constructivism and dadaism.