- Taschenbuch: 152 Seiten
- Verlag: Simon & Schuster; Auflage: Reissue (Januar 1970)
- Sprache: Englisch
- ISBN-10: 0809015463
- ISBN-13: 978-0809015467
- Größe und/oder Gewicht: 22 x 13,7 x 0,9 cm
- Durchschnittliche Kundenbewertung: 5.0 von 5 Sternen Alle Rezensionen anzeigen (1 Kundenrezension)
- Amazon Bestseller-Rang: Nr. 696.740 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Produktbeschreibungen
Pressestimmen
"It's not often you come across writing that resounds with the undeniable sense that a writer's life hangs in the balance."--Sam Shepard, Vanity Fair
"Unmistakably one of the best writers we have in that self-discovering tendency in contemporary writing we have chosen to call post-modernism. His plays and novels have steadily and splendidly put to the test many of our essential presumptions about the nature of reality and art."--Malcolm Bradbury, The New York Times Book Review
"Unmistakably one of the best writers we have in that self-discovering tendency in contemporary writing we have chosen to call post-modernism. His plays and novels have steadily and splendidly put to the test many of our essential presumptions about the nature of reality and art."--Malcolm Bradbury, The New York Times Book Review
Kurzbeschreibung
Kaspar, Peter Handke's first full-length drama--hailed in Europe as "the play of the decade" and compared in importance to Waiting for Godot--is the story of an autistic adolescent who finds himself at a complete existential loss on the stage, with but a single sentence to call his own. Drilled by prompters who use terrifyingly funny logical and alogical language-sequences, Kaspar learns to speak "normally" and eventually becomes creative--"doing his own thing" with words; for this he is destroyed.
In Offending the Audience and Self-Accusation, one-character "speak-ins," Handke further explores the relationship between public performance and personal identity, forcing us to reconsider our sense of who we are and what we know.
In Offending the Audience and Self-Accusation, one-character "speak-ins," Handke further explores the relationship between public performance and personal identity, forcing us to reconsider our sense of who we are and what we know.
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Format:Taschenbuch
With the plays in this book Peter Handke managed to destroy any pre/misconceptions we could have possibly had about the theatre. Revolutionary.
"Kaspar" is, rightly so, regarded as one of the most important works in history.
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The Best Play of the Twentieth Century...
1. Februar 2001
Format:Taschenbuch
...goes to Peter Handke's Kaspar. I first read the play because I had been cast in the show, and frankly I thought it was another psudo-intellectual work intended only to confuse the audience with bitter attempts at meaning through poetry which, at the time, I had seen and worked on all too much of. Kaspar was different. Seven years later, I'm still reflecting on the experience I had with that text, re-reading it, discovering new things, and marveling at the genius of Peter Handke in every regard. I have never known any contemporary playwright to be so didactic yet at the same time so evocative. Most writers with this kind of material just dish out a pile of footnotes in dialogue form. Handke does neither; rather, he paints many unseen facets of profound themes surrounding socialization, language development, and object recognition, to name a few. The way Handke deals with concepts of learning and how we take a typical learning process for granted is illuminating in ways that no theory book or psychology text can offer - and shouldn't that really be the point of theatre? To offer the audience something they can't get anywhere else?
This is a directors play, an actors play, even a designer's play - but most triumphantly it is Handke's play. I can think of few writers outside Shakespeare who can manage to leave so much to those producing the work while still leaving an indelible thumbprint on the final product. My only lament is that the english language is deprived of a writer of this magnitude.
an "idiot" in the classical greek sense.
24. September 2009
Format:Taschenbuch|Von Amazon bestätigter Kauf
the story of kaspar hauser, the nineteen century autistic child discovered in germany, unable to communicate -- and of his gradual and ultimately tragic re-programming into society, as movingly told by austrian playwright peter handke. handke became something of a cult figure in the seventies and then fell into disfavor in european cultural circles during the nineties, for his support of the serbs during the bosnian conflict. a fascinating journey into the human condition as kaspar becomes self-aware; by turns dealing with physical pain amidst the panic of alienation and after learning to express himself, replacing physical hurt with emotional (shame). worthwhile reading for folk who don't require car chases in every plot.
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Your original face
5. September 2005
Format:Taschenbuch
Found on the shelves of Book World in New Haven. Seen on the stage in Chicago. And years later in Palo Alto. Read in excerpts often and in entirety every few years.I'm not sure why the play Kaspar has such a hold on me. But it thrills me.
Perhaps because it points back to before my mind was stuffed with concepts. Perhaps because I sense my thoughts are in a rut. I don't know. What words to choose? What choice?
I know no similar work of literature. Wonderful to see performed. Still, the theatrics are only a part of Kaspar's challenge. Why do you think as you do? How much of one's thinking is explanatory fiction? Where did the store of phrases come from? Is it helping?
In some strange attachment, the play Kaspar figures deeply in my self-definition. Foolish, to let a powerful warning about language define me. I don't even think I understand it that well. But long after I have set aside many books, this one continues to challenge and amaze me.
Perhaps because it points back to before my mind was stuffed with concepts. Perhaps because I sense my thoughts are in a rut. I don't know. What words to choose? What choice?
I know no similar work of literature. Wonderful to see performed. Still, the theatrics are only a part of Kaspar's challenge. Why do you think as you do? How much of one's thinking is explanatory fiction? Where did the store of phrases come from? Is it helping?
In some strange attachment, the play Kaspar figures deeply in my self-definition. Foolish, to let a powerful warning about language define me. I don't even think I understand it that well. But long after I have set aside many books, this one continues to challenge and amaze me.
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