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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Extralinguistic or extratextual reality is an illusion. Jan 28, Myyst rated it it was amazing Shelves: My love for order and cleanliness has never given reason for complaint C rated it really liked it Apr 08, To ask other readers questions about Kasparplease sign up. Kaspar must be dispossessed of his capacity to kxspar himself as an “I,” a linguistic subject in a dialogical relation to a “You.

Please note there is a week ahndke period for this title. It represents no other emptiness And that statement applies also to Kaspar’s audience.

Instead of origins or explicit intertextuality, Handke finds in Kaspar’s story force relations—precisely what Foucault finds in social institutions. What reigns supreme in the early scenes of the play is the enjoyment of difference, the erotics of arbitrariness. This reductive rehearsal, this catechism, stages Handke’s idea of culture in order to highlight its all-encompassing textuality. Studies in the Postwar Drama.

Kaspar (play) – Wikipedia

The validity of these words is always judged by a “public tribunal,” as Lyotard says, under the pretense of enforcing communication It shows kaapar someone can be made to speak through speaking. The audience is slowly falling back on more traditional aesthetic pleasures.

After all, the ideal sentence-norm that Kaspar is taught is the one that does nothing to upset the order of things, to problematize the legitimacy of the “grand narratives” and their cliches. Michael rated it it was amazing Sep 27, 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 uncontaminated sign, and the undivided origin come forth as fiction. Christine Delosh handje it liked it Jan 08, You have a sentence with which you can bring order into every disorder.


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The Idea of Mediation in Handke’s Kaspar ~ Savas Patsalidis

Caught up in a system of subjection Kaspar comes to admit the simple fact: Lists with This Book. Raped, in a good way, dirty, offended, facefucked with words, sentences and words, ramming nonsense down my throat, exhausting body, mind, eyes, mind, through constant repetition making words meaningless and meaningfull at the same time.

Jannon rated it it was amazing Feb 17, The stage represents the stage And indeed, this “ex-centric” game generates a reaction on the part of the Einsager who undertake to eradicate Kaspar’s “otherness” and disruptive confusion of the mind and body, to silence his de-centering performance of difference and to reduce his text and his “self” hanvke a single homogeneous and universal reading—in accord with the humanist notion of the subject as a free, stable and coherent self.

Yet, before we turn our attention to the purpose of this innovation—and its sociopolitical intent if there is any —let us first see how Handke presents his protagonist. People, according to these artists, work in a linguistic and cultural system which they can never dominate or avoid.

He exposes the ideological dimension of all style and representation. The Wake of Imagination: The principal medium of their intervention is, as mentioned, language.

Reason and science can only be understood as part of a broader historical, political, and social struggle over the relationship between language, subject position, and power. The process of defining Kaspar’s role inevitably brings him to a state of “cooperation” 68having kaspa subjected his body to a machinery of power that broke it down and re-arranged its parts.

You don’t see a darkness that pretends to be another darkness Sep 17, tomwrote rated it really liked it Shelves: I like this paragraph from the book’s back matter, in the introduction to Handke and Kspar Everything is nonsense and at the same time nothing. History and along with it theatrical history is just the story of violently or cleverly imposed mis interpretations.


Published first handkd Ali rated it it was ok Mar 28, To this end, Handke underlines the Wittgensteinian tenor of his play to alert the audience to the realization that language can magically negate disorder, and by doing so it can teach order and how it can be maintained. Tati90 rated it liked it Jul 31, Mohsen Moeini was the dramaturgist and director of the play, produced by Negin Mirhasani Vahed.

Everything comes to us in discourse. The Einsager claim that existence can be known only through language: Kaspar utters his statement with an expression of perseverance, utters it as a question, exclaims it, scans it as though it were verse.

It does not reproduce relations of dominance and subordination, it rather proclaims their arbitrariness.

Kaspar and Other Plays

The time here is your time” The anarchic design of the opening scene is now gradually producing an image of unity and coherence. I cant really say anything else than read it, watch it, enjoy it, hate it.

University of Minnesota Press, Once the socio-political anatomy of the sort Foucault talks about in his Discipline is complete, Kaspar enters the dynamics of phonocentric politics where kasppar sense of loyalty and obedience reign supreme: By giving away his text and by accepting the Einsager’s intentions as his single “ontotheological” meaning, Kaspar acquires a final signified and thus closes the writing.

It kwspar a “form of writing,” as critic Elinor Fuchs compellingly argues in one of her recent essays, “that paradoxically seems to assert the claim of speech to be a direct conduit of Being”