1. Havel, , ‘Basník dněsní doby’, Květen, 2 (1956): 146.
2. See Veltruský, Jiří, ‘Acting and Behavior: A study in the Signans’ in Herta Schmid and Aloysius van Kesteren, The Semiotics of Drama and Theater (Amsterdam: John Benjamins, 1984).
3. For an example of the Prague School work see fan Mukařovský's study of Chaplin in City Lights, ‘An attempt at a Structural Analysis of a Dramatic Figure’, in Structure, Sign and Function, ed. Steiner, Peter and trans. Burbank, John (New Haven: Yale UP, 1977); I have adapted the Prague School model to account for individual effects in ‘Celebrity and the Semiotics of Acting’ New Theatre Quarterly, 6, 11 (1990): 154–61.
4. See my study, ‘Vaněk for President: Václav Havel and the Semiotics of Identity’, in Small is Beautiful, ed. Schumacher, Claude (Glasgow: Theatre Studies Publications, 1991).
5. I have discussed this theory at greater length in ‘Delirious Subjectivity: Four Scenes from Havel’, Essays in Theatre/Etudes théâtrales 10, 2 (1992): 117–32.
6. Havel, and Procházka, Jan, ‘Záludný dar’ [Crafty Gift], Divadlo 13, 7 (1962): 21–22. Translations from Havel's essays are by Štěpán Šimek and myself.
7. Havel, , ‘Bohdanová na houpačce’,[Bohdanová on the See-Saw] Divadlo, 14, 1 (1963): 48.
8. Havel, and Procházka, , ‘Herecká osohnost Rudolfa Hrušínského’ [The Personal Acting of Rudolf Hrušínský] Divadlo, 12, 8 (1961): 575.
9. Havel, and Procházka, , ‘O Josefu Kemrovi a nejen o něm’ [On Josef Kemr and Not Only on Dumbshow] Divadlo, 12, 1 (1961): 40.
10. Havel, , ‘Kolem herectví Miloše Kopeckého’, [About the Acting of Miloš Kopecký] Divadlo, 13, 5 (1962): 7.
12. Havel, , ‘Divadlo ABC: Krize a její příčiny’, [The ABC Theatre: A Crisis and Its Causes] Divadlo 13, 2 (1963): 40.
13. Havel, Programme for Nejlepší rocky Paní Hermanové; any other programme quotations are also from this otherwise unpublished note. Some of the programme photos were re-published in ‘Léta a rocky’, [Flying, and Rock, ] Divadlo 14, 2 (1963): 50–54.
14. I refer throughout to the facsimile xerox text that I have from Havel's personal files; it has many changes—deletions and additions—written into the play, and I have no way of knowing to what extent it represents the final performance text of the play. Nor have I consulted any recordings.
15. For those who are interested in Havel's compositional process, there is an analysis of The Increased Difficulty of Concentration in my forthcoming paper, ‘Dramatizing Delirium: Havel's Ztižená možnost soustředění and the Don Juan Myth’ in Don Juan and Faust in the 20th Century, ed. Sormova, Eva (Prague, 1993?).