CHICAGO REVIEWS @ END OF PAGE
Friedrich Schiller, Don Carlos,
1. Akt, 1.Auftritt: ACT I, SCENE I
Domingo (a priest):
”The beautiful sojourn in Aranjuez has now come to an end. Your Royal Highness are not leaving it any happier. Our having been here has been futile. Por favor, my Prince, break your puzzling silence, open you heart to your father's heart. His son's - his only son's - silence is beginning to exact too dear a price from my Monarch.
Carlos looks to the ground
and remains silent.==========================
THE ARANJUEZ ,BEAUTIFUL DAYS OF PHOTO ALBUM https://plus.google.com/photos/106505819654688893791/albums/5743345630124877873?sort=1
Handke's conversations with Oberender
- La Lecon,La Cantratrice Chauve-except that there is nothing absurdist about Handke'sso playfultheater, no matter thatKASPARappears to suffer from being locked in an absurdly imprisoning language house.The Handke translation sitehttp://www.handketrans.scriptmania.com/has a piece describing what became involved in translating the early pieces a piece that I myself still quite like&contains some stabs of mine in locating Handke's drama within the world of contemporary theaterthat needs editing and revision.
- and of which we receive just a single long and very ambiguous section.
- They agree that Aranjuez, the town, palace, the environs ought to exist as a premonition (as indicated in the text), don't give in to the powerful temptation to illustrate spectacularly in other words.
- How many indicae does windy frozen city avant garde audience need for its imagination to start to flutter?
- Then O. mentions and Peter happilly agrees that the two characters are really the two actors at the end of THE ART OF ASKING, and you briefly think you've got something to work with, but you don't. Peter says that actors, for him, are the closest to “people in full” that he knows – well, perhaps that tells us a bit about what he envisions these two to be.
- Handke's major relationships with women have been with very beautiful and sucessful actresses. The relationships have not lived up to the adjectives, until now, late in life that he's figured out not to live with a woman while he works, as when does he not work, on one project or another. He also mentions that it's perfectly all right with him to regard MAN & WOMAN as actors even if they are NOT acting! And he cites as an example his novel DER GROSSE FALL which tells the story of a very strange character who set out one morning outside Paris to go to Paris to act the part of THE AMOK RUNNER, something Peter himself has often admitted to have the urge to do. But we never see the actor of FALL acting. Something happens, intercedes. A great piece of writing, Scott and I addressed ourselves to it a few year back on line, without reaching anything really conclusiory; deeply mysterious, playful.
- My own guess as to what Handke means is that an actor is identical with him or herself (and that that is a great strength, he also mentions actors shynesses), represents her or hinself. An odd kind of identity that can fill another. The first time we have actors playing actors in a Handke play is RIDE ACROSS LAKE CONSTANCE, they pretend think they are the great stars of 30/40 cinema, while searching for their identities. CONSTANCE is probably my favorite Handke play. It cleans your clock, as HOUR or course does too. These are works of pure genius.
- It occurred to me that if one were to write ARANJUEZ naturalistically one could go back, say, to 1980 downtown Manhattan and the restaurant where McInerny's BRIGHT LITHGTS BRIGHGT CITY opens, THE ODEON, and a girl who has been flirting outrageously with a guy goes up to him, and doesn't just say, “i'd like to go out with you” but asks
“what do you like to do in bed?”,
- or vice versa.
- However in this instance there exists that agreement to which the MAN & THE WOMANkeep referring“that was the idea”that is, there is the game plan.
- there is a sequence in one of the poems ofNONSENESE & HAPPINESSwhich I translated where Handke recounts a lover publicly talking about fuckingthat is, our twosome here are engaged in apublic act of exhibitionismFormalizedas far as I am concernedthe play is aboutTHE PORNOGRAPHIC HEART OF THE WORLDwith porn being so profuse how do you seriously playfully broach the erotic on stage?This would seem to be at least one wayTHE WOMAN'S confessionshoweverseem to be a bit muchand THE MANkeeps withdrawing into DISPLACEMENSLawrentian flower language,and Handke in his conversation admits as much, to that withdrawal, so there is that movement back and forth fromthe gross to theif you willsublimatedwhich I like best in the description of all those fruit and veggies that have gone wild.That creates an extraordinary unresolved tension, but for the author then allowing outside noises to intrude into the permanent erotic state.In other words, this play is not a variation on Mueller's QUARTETT or on LIASON DANGEREUSE two piece that come to my mind in connectionaside the ones alluded to in the play itself, STREETCAR NAMED DESIRE & TALES FROM THE VIENNA WOODS, DESIRE UNDER THE ELMS, CAT ON THE HOT TIN ROOFPerhaps Scott has one or the other thought.
- Michael Roloff March 2015