Kaspar and Other Plays has ratings and 7 reviews. Kaspar, Peter Handke’s first full-length drama – hailed in Europe as the play of the decade and c. ‘Kaspar is based on the historical case of a year-old boy who appeared from nowhere in Nuremberg in and who had to be taught to speak from. Kaspar by the Austrian playwright and one of the “makers of modern drama” ( Robert Gilman), Peter Handke, is a poetic meditation on language, identity.

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First staged in Germany init was hailed by Max Frisch as ‘the play of the decade’. Refresh and try again. This book is not yet featured on Listopia. This page was last edited on 8 Octoberat This is a dissertation of I feel shamed. Kaspar did not make a lot of sense to me, even with the gloss of that paragraph I quoted above. Tati90 rated it liked it Jul 31, And that might also be because of their relative merit in the overall body of his work–since these three early plays Offending the AudienceSelf-Accusationand Kasparhe’s had a long career, and these might be considered an acquired taste now, especially the last.

By virtue of their “already-thereness” language and culture constitute people’s limits and possibilities. David Schaafsma rated it liked it Dec 19, Like Beckett in Waiting for GodotHandke in Kaspar foregrounds his Einsager as the privileged founding and controlling principle that ensure balance and coherence. Just a moment while we sign you in to your Goodreads account. For more information, visit our inspection copies page.

Retrieved from ” https: In this sense, Handke argues, political critique is possible because it can rewrite history within the politics of difference—that substitutes for totalizing narratives of oppression. Handke himself wrote in the prologue to the play: They have no history In the latter part of the play the tension between the individual and ‘the others’ is further expressed through the image of the original Kaspar surrounded by a host of hanske ‘Kaspars’.


C rated it really liked it Apr 08, What reigns supreme in the yandke scenes of the play is the enjoyment of difference, the erotics of arbitrariness. Sep 19, Kimley rated it really liked it Shelves: From the start the invisible Einsager, speaking through loudspeakers placed above the stage, bombard Kaspar’s individual picturing of states of affairs with linguistic kasppar endowed with an eternal, supra-class character.

You don’t see a room that pretends to be another room” Handke, like his contemporary Robert Wilson, is here inviting us with his stage directions to quote theatre out of context, to shatter conventional narrative. The Drama Review Obie for Best Foreign Play Language, instead of being the space of confrontation between diverse socio-linguistic consciousnesses is here kasoar as the topos of uni-accentual signs.

Kaspar (play) – Wikipedia

The Einsager, of course, do not indicate any difference between word and object: On approval, you will either kaspxr sent the print copy of the book, or you will receive a further email containing the link to allow you to download your eBook.

Maybe not–there’s a YouTube video of an adaptation of Offending the Audience that looks fairly recent.

I cant really say anything else than read it, watch it, enjoy it, hate it. Did have some wow moments, though.

Early Modern and Renaissance Plays: Brian rated it really liked it Mar 22, It does not give us the choice of accepting, handkr or selecting. Peki Kaspar kim sahi? The one Kaspar becomes interchangeable and expendable.


Kaspar and Other Plays

June Schlueter correctly draws the parallel between the two texts: I haven’t watched it all, but it seems to conform to the general idea of Handke’s piece. Their totalization of historical experience imposes on Kaspar’s text structures which limit and arrest play, reduce its diversity to a one-dimensional, all-encompassing logic.

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Kaspar (Modern Plays) Peter Handke: Methuen Drama

Handke does not frame his subject within rigid boundaries that privilege and exclude around the categories of race, gender, and ethnicity.

It is empty because we don’t need objects. Just a moment while we sign you in to your Goodreads account.

The play itself is modeled on the real story of an illiterate youth, Kaspar Hauser, who appeared in the streets of Nuremberg in May ofhelpless and terrified and capable of uttering only one sentence: Kaspar is taught that speech is prior to, and the limits of, thought, and that kadpar individuality must bend to handk pre-conditions.

These are all maxims drawn from an entire historical and cultural matrix that precludes any form of critical awareness; they are maxims that do not threaten, deconstruct or question.