Temptation is a theatrical exploration of human desires, power dynamics, and the blurred lines between scientific inquiry and mystical allure. Set in a scientific institute, the play unfolds through a sequence of scenes packed with philosophical dialogues, romantic entanglements, and the tantalizing presence of supernatural elements. At its core, Temptation challenges the audience to reflect on the nature of temptation and the dire consequences of succumbing to it.

An Anonymous Setting

The curtain rises on a room within a scientific institute, characterized by its "impression of bureaucratic anonymity." The furnishings and equipment seem to have been whimsically assembled, creating an atmosphere of indifference. Lorencova, Kotrlý, and Neuwirth lounge on stage, summoning Maggie for coffee. Foustka arrives, clad in black, and promptly becomes the subject of conversation regarding his private studies. Though he feigns ignorance, Neuwirth persists, hinting at Foustka's acquaintances with the mystical. The Deputy Director enters, accompanied by Petruska, and after initial formalities, the conversation shifts to an upcoming garden party. Soon, the Director arrives, emphasizing the need to combat the rising mystical tendencies in society, seeking Foustka’s support for this cause.

The Intriguing Visitor

In the second scene, Foustka is found in his modest, book-lined bachelor room, engaged in a ritual. This is interrupted by his landlady, Mrs. Houbova, who informs him of an unusual visitor. Fistula, a small vagrant with a peculiar demeanor, enters. Initially irked, Foustka grows intrigued as Fistula's conversation reveals insights implying supernatural knowledge. Fistula, claiming not to be a mere provocateur but a minor spirit, suggests a bizarre experiment: to make Maggie fall in love with Foustka at the garden party. Foustka protests, citing his fidelity to his girlfriend, Vilma, but Fistula plants the seed of doubt regarding Vilma's loyalty before leaving.

The Garden Party

Scene three transports the audience to the lively garden party. Amidst formal dances, Foustka engages Maggie in a discourse on cosmic beauty. Their conversation is intermittently disrupted by Neuwirth and the Director, creating a dance of interruptions and propositions. Kotrlý, eager for career advancement, observes the dynamics between Neuwirth and Lorencova. As the scene unfolds, Maggie becomes increasingly enamored with Foustka, ultimately declaring her love. This tender moment is abruptly cut short by Vilma’s unexpected arrival, a cool, observing presence that signals the end of the scene.

Jealousy's Game

Vilma's boudoir is the stage for scene four, where a storm of jealousy and passion plays out between her and Foustka. Their exchange, initially charged with bitterness, is revealed as an erotic game they indulge in. However, Foustka's admission that these games unsettle him leads Vilma to suggest that his real discomfort stems from the predatory Director’s advances. When the dancer from the earlier jealousy scene arrives with flowers, the atmosphere shifts dramatically as Vilma pleads her love, only for Foustka to respond unexpectedly with violence, a shocking display of the turmoil within him.

Allegations and Revelations

Scene five returns to the institute, where Foustka and Vilma, visibly carrying the aftermath of their previous encounter, are met with the usual routine of coffee delivery from a nervous Maggie. The Deputy's verbose introduction precedes the Director's speech accusing Foustka of black magic. As Maggie stands to defend him, her employment is terminated, and further attempts by Foustka to advocate for her only exacerbate the situation. The scene crescendos with a request from Foustka for a fair investigation, and just as Maggie exits in tears, a chandelier crashes dramatically, marking the intermission.

A Return to Foustka's Flat

The second act opens in Foustka’s flat, where Fistula awaits. Their conversation centers on the recent events, with Foustka dismissing them as coincidences. Fistula,...

Embedded within the fabric of Václav Havel's play "Temptation" is a masterful interplay of dramatic devices that breathe new life into a classic myth. By drawing on the familiar yet flexible myth of Faust, Havel crafts a narrative that intertwines the power of tradition with the modern context. Through repetition and deliberate mystification, the play captures the audience's imagination, weaving a tapestry of thematic depth and existential uncertainty.

Reimagining the Faustian Myth

At the heart of "Temptation" is Havel's utilization of a familiar myth to create a rich intertextual dialogue. The Faust myth, with its narrative elasticity, provides a framework that is both recognizable and ripe for reinvention. Havel's interpretation doesn't bind itself to a singular rendition but rather explores various dimensions of the myth, generating new meanings that resonate with contemporary audiences. His character, Fistula, exemplifies this innovation. Unlike the traditionally flamboyant and seductive Mephistopheles, Fistula embodies a more insidious and understated evil. This nuanced portrayal reflects the subtleties of moral corruption in Cold-War-era Soviet society, presenting evil as pervasive and seemingly benign.

Repetition as a Dramatic Technique

Repetition emerges as a central device in Havel's toolkit, advancing the play's thematic progression. Scenes unfold against a backdrop of recurring routines, each iteration incrementally altering their significance. The mundane activities within the office, for instance, accrue weight as their variations reveal underlying truths. This technique is mirrored in Vilma's boudoir scenes, which are continually recontextualized through their connections to earlier moments. By repeating certain elements, Havel underscores the futility of Foustka's attempts to incite change within the entrenched societal and ideological frameworks. The climactic costume ball, for instance, stands out against the monotonous backdrop, offering a glimpse of spiritual revelation amid bureaucratic deception. Yet, the society remains unchanged, suggesting a cyclical return to the status quo.

Mystification and Ambiguity

In deliberate opposition to the expected contours of the Faust narrative, Havel infuses his play with a layer of mystification that heightens the atmosphere of ambiguity. The exact purpose of the institute, for instance, remains elusive, as do the true identities and intentions of characters like Fistula and Vilma. Unresolved relationships, such as the one between the Director and Petruska, further deepen the enigma surrounding the narrative. Foustka, ostensibly the audience's guide, provides little concrete insight into his own objectives, maintaining the play's ethereal quality. Despite the sense that pivotal issues are in play, the narrative maintains its opacity, leaving the audience to grapple with the uncertain terrain of moral and existential dilemmas.

Havel's "Temptation" thus becomes a canvas for exploring the tension between tradition and innovation, certainty and doubt. By employing these dramatic devices, Havel not only reimagines a legendary myth but also reflects on the human condition within a modern sociopolitical context. The interplay of these techniques invites audiences to ponder the nature of change and the persistence of entrenched ideologies, all while navigating the shadowy depths of a world where truth is tantalizingly out of reach.