Kaspar
Loosely based on Kaspar Hauser, the play presents a near-speechless young man being taught language and social norms. It examines how speech and conformity can shape, constrain, and negate individual identity.
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Loosely based on Kaspar Hauser, the play presents a near-speechless young man being taught language and social norms. It examines how speech and conformity can shape, constrain, and negate individual identity.
Four speakers address the audience directly, repeatedly denying that events are being represented or that anything theatrical will happen. The anti-play turns attention to the audience’s presence and challenges assumptions about language and theatre.
A narrator with traces of the author looks back at the Nazi era, contrasting a Slovenian family in Carinthia that collaborates with the Germans with another that resists them.
In a bright, empty town square, hundreds of silent figures pass through fragments of an ordinary day. The play’s conception comes from Handke’s observation of people in a Muggia square, where a hearse and funeral briefly altered the meaning of what followed for the observer, though the passersby knew nothing of one another.
A writer returns to his home village and becomes entangled in a dispute with his brother and sister over their parents’ house. The dramatic poem is the final part of Handke’s Slow Homecoming tetralogy.
Loosely based on Kaspar Hauser, the play presents a near-speechless young man being taught language and social norms. It examines how speech and conformity can shape, constrain, and negate individual identity.
Four speakers address the audience directly, repeatedly denying that events are being represented or that anything theatrical will happen. The anti-play turns attention to the audience’s presence and challenges assumptions about language and theatre.
A narrator with traces of the author looks back at the Nazi era, contrasting a Slovenian family in Carinthia that collaborates with the Germans with another that resists them.
In a bright, empty town square, hundreds of silent figures pass through fragments of an ordinary day. The play’s conception comes from Handke’s observation of people in a Muggia square, where a hearse and funeral briefly altered the meaning of what followed for the observer, though the passersby knew nothing of one another.
A writer returns to his home village and becomes entangled in a dispute with his brother and sister over their parents’ house. The dramatic poem is the final part of Handke’s Slow Homecoming tetralogy.