Peter Handke's work is amongst the most strikingly original of all
post-war European writing (Times Educational Supplement) Offending
the Audience is "a dissection of our expectations about what ought
to happen in the theatre." Self-Accusation is "a cunning and ironic
attack on bureaucratic moral guilt" (Observer); Kaspar is based on
the true story of Kaspar Hauser, a sixteen year old boy who
appeared from nowhere in Nuremberg in 1828 and who had to be taught
to speak from scratch. Handke's play is a downright attack on the
way language is used by a corrupt society to depersonalise the
individual; My Foot My Tutor is a mime for two actors - "Handke has
here written an hour-long play without words that may at first look
like a piece of audience-provocation but that finishes up as sheer
theatrical poetry" (Guardian). In The Ride across Lake Constance, a
group of characters (known only by the names of the actors who
perform the parts) talk and play games together and skate over the
thin ice that separates them from unspoken danger. "Intensely
theatrical...an author for whom playwriting seems akin to tightrope
walking" (The Times). They Are Dying Out puts the pillars of the
bourgeoisie under the microscope to reveal an alien race,
suffocated by rationality, unable to cope with untamed subjective
impulses and shows an "uncanny knack for making the familiar seem
strange" (Plays and Players).
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