Piese de Peter Handke

Der Ritt über den Bodensee
It deals directly with one of Handke's favorite themes: the realities of theater itself, independent of the offstage world, and the way language and objects operate in the skewed world of the stage.
Die Fahrt im Einbaum oder Das Stück zum Film vom Krieg
Dedicated to the memory of the Catalan journalist Josep Palau Balletbó (and to the theatre as a free medium). The story takes place about a decade after the last war for the time being. Mistakes by others that highlight equivalent errors of our own precipitate a moral disappointment that permits us to assume the strict and noble stance of both judge and victim and gives rise to an inner state of moral euphoria. This euphoria distances us swiftly and surely from the process of personal moral perfection and makes of us terrible and merciless and even bloodthirsty judges.
Die Stunde, da wir nichts voneinander wußten
The trigger for the play was an afternoon several years ago. I'd spent the entire day on a little square in Muggia near Trieste. I sat on the terrace of a café and watched life pass by. I got into a real state of observation, perhaps this was helped along a bit by the wine. Every little thing became significant. The tiniest procedures seemed significant of the world. After three or four hours a hearse drew up in front of a house, men entered and came out with a coffin, onlookers assembled and then dispersed, the hearse drove away. After that the hustle and bustle continued - the milling of tourists, natives and workers. Those who came after this occurrence didn't know what had gone on before. But for me, who had seen it, everything that happened after the incident with the hearse seemed somewhat coloured by it. None of the people on the square knew anything of each other - hence the title. But we,the onlookers see them as sculptures who sculpt each other through what goes on before and after. Only through what comes after does that which has gone before gain contours; and what went on before sculpts what is to come.
Die Unvernünftigen sterben aus
It presents one of his most fascinating protagonists, Quitt, a businessman who first induces a group of colleagues to set up a monopoly and then torpedoes the scheme.
Eu sunt cel ce sunt (Ich bin ein Bewohner des Elfenbeinturms)
Immer noch Sturm
The Jaunfeld district, Carinthia, southern Austria: A man's ancestors gather around him: his grandparents and their children, his own mother among them. They follow him into his dreams, appearing to him in various sequences of scenes that feature the most diverse forms of performance and speech – a panorama that reaches out far beyond all literary genres at the same time as it appropriates them. Is Peter Handke composing an exemplary family tragedy in scenes? (After all, two of the brothers died in the 1940s.) Is he using these individual episodes to relate the epic story of a whole people, the Slovenes? (They were the only group to put up armed resistance to the National Socialist regime within its original borders.) Is he sketching out the historical drama of eternal losers (who once thought history was on their side and yet achieved nothing)? Or is he taking this dramatic narrative as an opportunity to look back at his own biography, the conditions that have shaped it and its consequences? (Suhrkamp Verlag, Theater und Medien)
The play is loosely based on the story of Kaspar Hauser. "Raised in a dark hole, at 17 he wandered into a 1824 German town knowing only a single sentence and became a scientific curiosity: a nearly-adult human without language and external influences, a tabula rasa upon which society and its scientific teachers could write with impunity."
Insultă la public (Publikumsbeschimpfung)
It is sometimes called an "anti-play" because of its renouncements of theatricality. There is no plot. No story is being told at all. Instead, the audience is made aware that what they see is not a representation of anything else, but is in fact quite literal. The actors continuously repeat the point that this is not a play, and that nothing theatrical will happen.
Till Day You Do Part Or a Question of Light
A play written as a response, or an echo, to Beckett's Krapp's Last Tape. In it we hear at last the voice of the unnamed female from Beckett's masterpiece. Handke's piece, again a monologue, is at once arrestingly beautiful and hauntingly mysterious in it's attempt at unravelling the figure of Krapp.
Untertagblues. Ein Stationendrama
An angry that provokes with its strong anti globalist and and anti consumer position. In its base is the heavy conflict of the individual with society which in the play happens underground – in the subway.

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Biografie Peter Handke 

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Peter Handke

Peter Handke s-a nascut la data de 6 decembrie 1942 in Griffen, Austria.

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