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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KasparPeter 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 kkaspar adolescent who finds himself at a complete existential loss on the stage, with but a single sentence to call his own.

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As the words begin to coincide with reality, Kaspar learns to manipulate both. Modern Drama 3 A Report on Knowledge. Many contemporary artists have increasingly questioned the humanist, self-centered significations and promoted instead a new notion of the self where the pure entity, the laspar sign, and the undivided origin come forth as fiction.

Like the Einsager’s discourse, the “intermission text” does not provide words for questions. There are many versions of the Hauser story, all of which seem to agree that the youth was kept for about sixteen kasar in a dark room, without any contact with the world outside and without a proper education.

The props, with no historical significance, with “no appeal to some grand narrative,” to use Lyotard’s phrasing In the process of eradicating Kaspar’s sentence, they become more aggressive, grow stronger, more implacable, invading all domains and implanting their own mechanism of inclusion and exclusion.


There was nothing on the Wikipe Handke’s is a name that I had heard of but knew hqndke to nothing about when I picked up this short book of plays at some kapar sale or another. Popular Tags Blog Archives.

Kaspar | play by Handke |

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.

Such ‘possibilities’ may well be deemed impossible at the level of the established reality” It seems very sixty-ish to me–a kind of shout at the audience to wake-up, that these plays are about no longer acting as if conventions are truth, about not accepting conventions as necessary, about getting down to the Real.

In the second and final version, Handke closes the play with an allusion to Iago in Othello: He exposes the ideological dimension of all style and representation. His departure from “nature” toward culture is complete.

David Kaumanns rated it it was amazing Mar 28, To unsettle the myth of semiology’s “versus” and at the same time affirm the “here and now” of the event, Handke allows the aesthetics of the stage to pour onto a topos beyond the well-guarded frames of the theatrical event.

It acquires narrative continuity.

Kaspar (play) – Wikipedia

The process of defining Kaspar’s role inevitably brings him to a state of “cooperation” 68having first subjected his body to a machinery of power that broke it down and re-arranged its parts. In this fabricated universe Kaspar naturally loses access hanske himself. 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.

Constructed from numerous conflicting cultural codes, Handke’s discourse prevents the viewer from approaching the performance text from a specific theatrical point of view.

It was Handke’s first full-length drama and was hailed in Europe as the “play of the Decade”.

Kaspar and Other Plays

Mehdi rated it really liked it Jan 01, C rated it really liked it Apr 08, Hazal Ilbay rated it it was amazing Mar 01, Like Pirandello’s six characters who once placed on the hnadke try to get rid of the author’s dictates, Kaspar momentarily defies filiation, mediation, and framing. In Offending the Audience and Self-Accusationone-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.


Yet, before we turn our attention to the purpose of this innovation—and its sociopolitical intent hand,e there is any —let us first see how Handke presents his protagonist.

Paperbackpages. You can unsubscribe from newsletters at any time by clicking the unsubscribe link in any newsletter. Absurdist, said to be based on a true story. Which individuals have access to discourse? Ernest Gilbert rated it it was amazing Apr 05, One print-out of Kaspar after another appears on stage reminding us of the mass-production of Kaspars through the manipulation of language and other coded systems.

To ask other readers questions about Kaspar and Other Playsplease sign up. To put matters differently, Handke foregrounds a series of fundamental questions related to the rules of formation and transformation of discourse.

He tries with all his strength to produce a single sound using his hands and feet.

Kaspar did not make a lot of sense to me, even with the gloss of that paragraph I quoted above. I have to accept that the second state is more likely to be due to me not understanding something, and there was a lot I didn’t understand, which made the flashes of insight all the more dramatic. One of my all-time favorites.