Václav Havel 1936-
Playwright, essayist, and poet Václav Havel is a major figure in Czech culture, and he is considered his country's foremost dramatist. His plays are powerful condemnations of the bureaucratization and mechanization of modern society and their effects on the individual. His keen satires depict the prevalence of cliché and official doublespeak in a totalitarian society and the chaos brought about by the disintegration of meaning. Many of Havel's works are considered absurdist black comedies because they employ grotesque and ludicrous elements that give expression to humanity's fundamental uneasiness in an inane universe. This focus on the absurd nature of existence in the modern world gives his works a universality that goes beyond his exploration of the uniquely Czech experience.
Havel was born into a wealthy family in Prague. Once his primary education was completed, he was denied access to higher education because of the Communist government's policy of discrimination against the bourgeoisie. Havel worked in a chemical factory and attended night classes in order to finish secondary school. Havel credits this period of his life with giving him the opportunity to "see the world 'from below,' that is, as it really is." It is from this vantage point, Havel believes, that one clearly views the absurd and comic dimensions of the world. In 1959 Havel accepted his first theater job, becoming a stage-hand at Prague's Divadlo ABC (ABC Theater); the following year he moved to the highly respected avant-garde Divadlo na zábradlí (Theater of the Balustrade), eventually becoming its literary adviser. Having begun writing articles and essays in the mid-1950s, Havel wrote his first play, Zahradní slavnost (The Garden Party) in 1963, and it was produced by the Balustrade. Vyrozumění (The Memorandum) premiered in 1965, and Ztížená možnost soustředení (The Increased Difficulty of Concentration) debuted in 1968. These plays were highly acclaimed internationally. The Memorandum premiered in America in 1968, and Havel won the prestigious Obie Award. The same year he was honored with the Austrian State Prize for European Literature. Throughout the early 1960s Czechoslovakia had been experiencing a gradual relaxation of government controls on culture, but this abruptly ended in 1968 when troops from the Soviet Union invaded the country in order to enforce closer compliance with Soviet policies. Although Havel's works were subsequently banned and Havel himself prohibited from working in the theater, he refused to abandon his country, and he continued to write plays and political works. His resistance to the Communist regime—which included co-founding the human rights organization Charter 77—resulted in his arrest several times in the 1970s. His plays written during this period circulated privately and premiered abroad. In 1979 Havel was sentenced to four and a half years in prison for his involvement in an organization that sought to defend individuals unjustly prosecuted by the state. In 1982 the 36th International Theatre Festival at Avignon, France, included a six-hour "Night for Václav Havel," and featured Samuel Beckett's "Catastrophe" and Arthur Miller's "I think about you a great deal," plays dedicated to Havel and written in protest of his imprisonment. Havel continued to write and to have his plays produced outside of Czechoslovakia, and he was awarded the Erasmus Prize in 1986. With the collapse of the Communist state in 1989, Havel was elected president of Czechoslovakia. When that country divided into the Czech and Slovak republics in 1993, Havel was elected president of the Czech Republic, a position he still holds.
The main theme in Havel's work is the relationship between the individual and the government. Associated with the absurdist playwrights Eugene Ionesco, Jean Genet, and Samuel Beckett, Havel explores the power of language and its ability to alienate and overwhelm the individual. These are the central issues in The Garden Party, The Memorandum, and The Increased Difficulty of Concentration. Three one-act plays, written after the Soviet invasion of Czechoslovakia in 1968, are semi-autobiographical. Known as the "Vaněk Plays," they all feature a dissident playwright named Ferdinand Vaněk. In "Audience," Vaněk, unable to work as a playwright, is forced to take a job at a brewery. His supervisor there offers him an easier job in exchange for composing the weekly reports to the authorities that the supervisor must file on Vaněk himself. In "Vernisáž" ("Private View") Vaněk visits former friends, an affluent couple who flaunt the material possessions they have gained by renouncing their previous opposition to the government. They attempt to convince Vaněk to recant his dissent as well. "Protest" features Staněk, a successful script-writer whose daughter's boyfriend has been arrested. Staněk encourages Vaněk to write a petition to protest the arrest, but he himself refuses to sign it. Throughout these three plays Vaněk is a nearly silent figure who functions as an external conscience for his interlocutors, prodding them to inadvertently admit their cowardice and hypocrisy. Havel's 1984 work, Largo Desolato, is a semi-autobiographical play about a philosopher driven to abuse alcohol and pills by the pressure both from officials who want him to recant his writings and from friends who themselves are unable to support his efforts but still urge him to continue. Pokousení (Temptation), a 1985 variation on the Faust legend about a scientist who sells his soul to the devil for knowledge and power, is an allegory in which the state is depicted as the true devil because it corrupts science in the service of political ends. Both Largo Desolato and Temptation develop the theme of humanity's tendency toward totalitarianism, the central issue as well in "Omyl" ("Mistake"), a play written in 1983 in response to Beckett's "Catastrophe."
Many of havel's works have met with acclaim both at home and abroad. Michael Billington, writing of a play production of The Memorandum in London, admired the play's "brutally logical satire on the use of language to enforce conformity" and observed: "The play may have grown out of experience of Czech communism: its application is universal." Similarly, Sarah Hemming, noting that The Memorandum was thirty years old at the time of its London performance, remarked: "As a political parable, the play seems almost prophetic: everything changes, and yet things remain the same." When the three Vaněk plays were staged together in New York under the title A Private View, critics praised the manner in which they effectively convey the ills of society and challenge the audience to reflect on existence in an absurd world. Overall, Havel is recognized as a powerful playwright who, as Marketa Goetz-Stankiewicz has written, not only "gives shape to some of the most important issues of our time but also a thinker who from his small place in a small country in the heart of Europe sends forth an eloquent artistic diagnosis of men living in social groups East or West."
Zahradní slavnost [The Garden Party] 1963
Vyrozumění [The Memorandum] 1965
Ztížená možnost soustředení [The Increased Difficulty of Concentration] 1968
Spiklenci [The Conspirators] 1971
Zebrácká opera [adaptor; from the drama The Beggar's Opera by John Gay] 1972
*"Audience" [also known as "Interview"] 1975
*"Vernisáž" ["Private View"; also known as "Unveiling"] 1975
Horský hotel [Mountain Hotel; also known as The Mountain Resort] 1976
†Hry 1970-1976 (play collection) 1977
"Omyl" ["The Mistake"] 1983
Largo desolato [Largo Desolato] 1984
Pokousení [Temptation] 1985
Slum Clearance 1987
OTHER MAJOR WORKS
Protokoly [Protocols] (essays, drama, and poetry) 1966
Dopisy Olze [Letters to Olga: June 1979 to September 1982] (correspondence) 1983
O lidskou identitu [In Search of Human Identity] (essays) 1984
Dálkový výslech [Disturbing the Peace: A Conversation with Karel Hvíždala] (interview) 1986...
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Light on a Landscape (1985)
SOURCE: "Light on a Landscape," translated by Milan Pomichalek and Anna Mozga, in The Vaněk Plays: Four Authors, One Character, edited by Marketa Goetz-Stan-kiewicz, Vancouver: UBC Press, 1987, pp. 237-39.
[In the following essay, which was written in 1985, Havel discusses the experience of having other authors utilize his character Vaněk and coins the term "Vaněk principle" to describe the phenomenon.]
In the 1970's it was customary (and a good custom it was) for several of my writer-friends to spend one summer weekend with me in my country cottage every year. After 1969 they all had found themselves in a situation similar to mine; that is to say, they were banned in their native country and publicly disgraced for their beliefs concerning society. At these gatherings we used to, among other things, read our new works to each other. In the course of about two days before our meeting in 1975, and mainly to have something to read on that occasion, I wrote the oneact play "Audience." The inspiration came from personal experience—my employment in a brewery the year before—and the play was intended, as may be evident, primarily for the entertainment of my friends. Indeed, it is little more than a dialogue between the so-called "dissident" writer Vaněk (who works in a brewery) and his superior, the brewmaster. Though the latter is invented, obviously...
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Overviews And General Studies
Phyllis Carey (essay date 1990)
SOURCE: "Living in Lies: Václav Havel's Drama," in Cross Currents, Vol. 42, No. 2, Summer 1990, pp. 200-11.
[Carey places Havel's drama in three major phases: "the early absurdist comedies; the Vaněk morality plays; and the psychological-prison plays."]
Americans were captivated by the 1989 election of Vaclav Havel, a human rights activist who spent almost four years in prison, as the first president of post-communist Czechoslovakia. Many who had heard that his ideas had played a vital role in the country's "Velvet Revolution" were introduced to his thinking through interviews, partic ularly the extended dialogue in Disturbing the Peace, as well as occasional pieces in the New York Review of Books. They learned even more from the philosophical-political essays of Living in Truth, and from Letters to Olga, the collection of fascinating, philosophical letters Havel wrote to his wife while he was in prison. Havel's political writings emphasize, among a great many other things, the "power of the powerless," the ability of seemingly impotent individuals to transform their societies through assuming responsibility for their humanity and living in truth.
Fewer Americans have been introduced to Havel's dramatic oeuvre, which provides a fascinating counterpoint to his philosophical...
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Jeremy Kingston (review date 29 March 1995)
SOURCE: A Review of The Memorandum, in The Times, London, 29 March 1995, p. 28.
[In the following evaluation of a recent British production of The Memorandum, Kingston praises the play but finds its absurdist elements dated.]
Written and produced in 1965 when its author, Vaclav Havel, was a relatively free man; first staged in this country 12 years later, when he had been placed under house arrest, this famous play [The Memorandum] is being revived at a time when he appears to have become incarcerated again, although now as his country's President.
The Velvet Revolution gives a special significance to the words spoken by the typist Maria, the only decent character in the play, trying to embolden her pusillanimous boss: "I believe that if one doesn't give way, truth must always come out in the end."
It has not done so when the play ends, and, perhaps, within the multiple ironies of the closing scene Maria herself has given way. Her boss's fatuous blatherings make her curiously happy. But on the other hand, this may be because she is leaving him to join her brother's theatre group—just such a group as the Theatre on the Balustrade, for whom The Memorandum was written.
Her boss is Josef Gross, who...
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A Private View ("The VaněK Plays")
A PRIVATE VIEW ("THE VANĚK PLAYS")
John Simon (review date 5 December 1983)
SOURCE: "Farcical Worlds," in New York Magazine, Vol. 16, No. 48, 5 December 1983, pp. 149-50.
[When the three Vaněk plays were staged off-Broadway in 1983, they were given the collective title A Private View. In the following review of that presentation, Simon declares "Protest" the best of the pieces.]
Vaclav Havel, the Czech playwright and fighter for human rights, is utterly heroic and admirable in the latter capacity. Twice jailed (once for four and a half years) and reduced to such menial labor as working in a brewery for championing freedom in general and the unjustly prosecuted in particular, he has also proved a decent and interesting writer, even if not in a league with such fictionists as Milan Kundera, Bohumil Hrabal, and the brilliant but politically unsavory Vladimir Paral. Though, right now, he is out of jail, Havel's works cannot be openly performed or published in Czechoslovakia, which makes the Public Theater's mounting of A Private View, a triple bill of his one-acters, an act of justice as well as satisfaction.
In all three plays—separately conceived but forming a cohesive triptych—Vanek, the manifestly autobiographical hero, confronts representative members of his repressive...
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Kriseová, Eda. Václav Havel: The Authorized Biography, translated by Caleb Crain. New York: St. Martin's Press, 1993.
Written by a friend and colleague of Havel, this book details the author's private and public life, touching briefly on his literary career.
Blair, Erica. "Doing without Utopias: An Interview with Vaclav Havel," translated by A. G. Brain. Times Literary Supplement, No. 4373 (23 January 1987): 81-3.
Critiques both totalitarian and capitalist societies and discusses the role of art in Czechoslovakia.
Havel, Václav. "Second Wind." In Good-bye Samizdat: Twenty Years of Czechoslovak Underground Writing, edited by Marketa Goetz-Stankiewicz, pp. 205-10. Evanston, I11.: Northwestern University Press, 1992.
Discusses the writing process and the shaping of the writer.
Mestrovic, Marta. "From Prison, a Playwright Yearns for a Stage." The New York Times (9 April 1989): II, 5-6.
Interview in which Havel recounts the effects of his imprisonment on his writing and assesses the state of theater in Czechoslovakia.
OVERVIEWS AND GENERAL STUDIES
Baranczak, Stanislaw. "All the President's Plays." The New Republic 203, No. 4 (23 July 1990): 27-32.
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