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Temptation

Overview and story

Temptation is a Czech-language play written by Václav Havel in 1985. A modern, provocative variation on the Faust legend, it is generally described as a Faustian play. Its world premiere took place at Vienna’s Burgtheater on 22 May 1986. The play later reached stages in Britain and the United States; an English translation by the Czech writer and journalist Marie Winn appeared in 1989. The available information establishes when Havel wrote the play and when it was first performed, but does not establish a first book-publication date.

The action centers on a scientific institute whose stated mission is to combat society’s “irrational tendencies.” It presents itself as a beacon of truthful knowledge, yet its personal and professional life is governed by flattery, evasion, suspicion, and mutually sustained falsehood. In the opening sequence, researchers are at work when the director and deputy director arrive and discuss strange developments at the institute. Their concern points toward someone’s involvement with the occult. The focus then shifts to the scientist Dr. Foustka at home, where the audience discovers that he is the one pursuing occult practices. A mysterious visitor, Fistula, comes to see him. Speaking indirectly, the stranger suggests that he can help Foustka and proposes a bargain. The institute’s party brings the characters together amid further maneuvering and revelation, and the play moves toward a garden-party scene with the character of a witches’ sabbath. Havel follows the recognizable outline of Faustian temptation but gives it a distinctive modern setting and conclusion; the available plot summaries do not specify the ending’s events in enough detail to warrant a more precise account.

Themes and dramatic method

The central irony is that an institution devoted to opposing irrationality does not thereby become a home for truth. Its official ideals sit alongside careerism and a culture in which people collude in lies. Foustka’s occult experiments make him both a participant in the institute’s compromised world and a figure drawn toward forces that exceed its approved account of reality. His dealings with Fistula recall the traditional encounter between Faust and Mephistopheles, but Havel’s tempter is an unlikely one: a dwarflike old man whose slippery reasoning appeals to Foustka’s intellectual pride. The bargain is therefore not simply a contest between good and evil. It raises questions about ambition, self-deception, responsibility, and the desire to cross boundaries while still imagining oneself rational and in control.

Havel’s absurdist technique sharpens the contrast between lofty institutional language and ordinary conduct. Offices, professional hierarchies, and social gatherings become settings in which people perform roles and protect their interests. The uncanny does not displace everyday absurdity; it exposes how much of that absurdity is already built into the institute’s routines. Written in 1985, while Czechoslovakia remained under Communist rule, the play can also be read in the context of Havel’s experience of a society shaped by ideological conformity. Its institutional setting invites reflection on the distance between official claims and lived behavior, although the drama is richer than a one-to-one political allegory: it also examines private choices and the moral compromises through which people help sustain a false order.

Context and standing

Temptation belongs to Havel’s important later dramatic work and remains a distinctive stage treatment of the Faust myth. Its international production history began in Vienna and continued with a British premiere in 1987 and a United States premiere in New York in 1989. The play also has a notable connection to Czech alternative music. Havel asked the Plastic People of the Universe to compose and record music for the planned Vienna production. The director used only fragments, and the band’s music was heard in a later production in 1999. A recording of Havel reading the play was subsequently brought together with the band’s original music in an audio performance. These afterlives underline the work’s links to theatrical experiment and non-official culture. Its lasting interest lies in the way it makes an old story newly unsettling: temptation operates not only through a supernatural visitor but also through ambition, institutional hypocrisy, and the stories people tell themselves about their own integrity.

About the Author

Václav Havel

Early life and education

Václav Havel was born in Prague on 5 October 1936, when the city was part of Czechoslovakia. He came from a wealthy bourgeois family. The Nazi occupation shaped his childhood, and the Communist takeover of 1948 transformed his family’s circumstances: the government confiscated family property, and Havel’s background restricted his educational and career opportunities. He completed secondary school and pursued study at university level, though his path into higher education and the humanities was constrained by the political treatment of people from bourgeois families. These experiences of exclusion and ideological pressure became part of the background to his later reflections on power, responsibility, and conformity.

Havel entered theatrical life through practical work. In 1959 he found employment as a stagehand with a Prague theatre company and began writing with Ivan Vyskočil. His work behind the scenes gave him direct familiarity with theatrical production, while the stage offered a way to examine language, roles, and the absurd patterns of ordinary life. His play The Garden Party premiered in 1963 and established his reputation as a dramatist. He became resident playwright at the Theatre of the Balustrade by 1968 and was an active participant in the cultural liberalization associated with the Prague Spring.

Writer and dissident

The Soviet-led invasion of August 1968 brought the reform period to an end. During the subsequent era of “normalization,” Havel’s work was censored, and he became one of the most prominent critics of the Communist government. Rather than seeking change from within the ruling party, he used plays, essays, and public activity to challenge political falsehood and repression. In 1977 he became one of the leading figures associated with Charter 77, the human-rights initiative that criticized the state’s failure to honor its own commitments. His dissident activity led to surveillance, detention, and imprisonment. These pressures did not end his writing; letters, essays, and plays became ways of insisting on personal dignity and civic responsibility under an authoritarian system.

Among his major plays are The Garden Party (1963), The Memorandum (1965), Audience (1975), Protest (1978), Largo Desolato (1984), and Temptation (1985). Across different settings, they return to questions about whether language can convey truth, how institutions shape individual behavior, and whether people remain responsible for their choices under pressure. His influential essay The Power of the Powerless (1978) similarly considers how ordinary people help maintain a system founded on falsehood, and how refusing to live within that falsehood can create a measure of freedom. Havel’s work therefore belongs both to modern theatre and to the intellectual history of dissent against totalitarian rule.

Presidency and legacy

In 1989, the Velvet Revolution ended Communist rule in Czechoslovakia, and Havel became president. After the country divided, he served as president of the Czech Republic from 1993 to 2003. His passage from playwright and imprisoned dissident to head of state made him an exceptional public figure, but the ethical concerns of his writing—truth, freedom, responsibility, and the limits of power—remained central to his public reputation. He died on 18 December 2011 at Hrádeček, in the Czech Republic.

Havel is remembered as a major Czech playwright, an influential dissident, and a symbol of the democratic transition in Central Europe. His reputation rests not only on his political leadership but also on his ability to connect theatrical invention with moral and civic questions. His plays expose the ways official language and everyday compromise can obscure responsibility; his political life gave those concerns a public dimension. The continuing international attention to his work reflects the durability of that combination of artistic imagination, principled dissent, and public service.

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