Vaclav Havel in England [Volume: 7(1988), pp. 385-398]

396
BARBARA DAY
over Maggie's seduction, he uncovers the layers of Foustka's confused
thoughts. And yet it seems that Foustka, with a momentary flash of
humour, will dismiss Fistula. Fistula, quivering, concentrates, and summons
all his energy into a verbal karate blow; he delivers Foustka the suggestion
that Vilma is an informer.
If this scene belongs to Fistula, the next one in the Institute belongs
to Foustka. John Shrapnel, who in some scenes appeared to be too mature
for the risk-taking Doctor, is effortlessly convincing in his own defense. He
presents his studies of mysticism as being an attempt to infiltrate the enemy
camp in order "to unmask and bring to book the perpetrators of these
activities." He admits to his acquaintance with Fistula, claiming that he is
trying "to gain the confidence of these people, penetrate their circle and
collect damning evidence at the very source." Foustka is exonerated-but
warned that in the future he must pass on a record of his researches. As
a "light-hearted tribute" the Director announces the theme of the next
Institute social-a Witches' Sabbath.
Before this takes place Foustka and Fistula hold their last private
conversation. Fistula is edgy; he moves in sudden rat-like movements, hands
thrust into the pockets of his dirty raincoat. He accuses Foustka of having
violated an unwritten agreement in speaking of their relationship to the
Director: "To lie to a liar is fine, to lie to those who speak the truth is
permissible, but to lie to the very powers which furnish us with the ability
to lie and ensure that we do so with impunity... only by undertaking
to be faithful to the authority that gives us this freedom can we expect
to be freed from all undertakings." Foustka is in a similar situation as
when he was accused at the Institute; he adjusts his steel-rimmed spectacles,
walks a few paces up and down, deep in thought. Then he faces Fistula
and dares to offer the same argument he offered to the Director; he will
pass on false information and act as a double agent "planted in the very
midst of the enemy." Fistula chews it over, looking shiftily sideways; then
throws his black beret to the floor in a shriek of manic laughter. Foustka,
it seems, has won.
And yet, in the last scene, Foustka's precariously structured world
turns out to be an illusion. Walpurgisnacht, threatened for the last two
scenes, has arrived. Vilma returns in a wilder tango with the Dancer. The
trails of smoke which accompany them spread wider as a steaming punch
is brought to stand on a table in one corner; the characters dip their beakers
into the evil brew. The decorations in the Institute garden are even more
bizarre. Lorencova strides aggressively across the stage, bizarrely dressed
like some amateur Brunhilde. As the other characters appear the audience
sees that they too are decked with masks and horns, cloaks, tails and broomsticks; not the fragile toys of Hallowe'en, but larger, more awesome props
from some Wagnerian opera-house. The costumes, unlike the nondescript
clothes worn till now, are in strong purples, blues and crimsons. The lighting