Here are the opening pages of a kind of gloss I am doing on Handke's COUNTRY ROAD, my shorthande for ICH & DIE UNSCHULDIGEN & DIE LANDSTRASSE.. REST DONE BY THE PREMIERE FEB 26
=IV=
A POTENTIAL DIRECTOR’S TAKE ON Handke’s
“I” THE BIG BIG SPLIT (TROUBLED)
EGO & & THE COUNTRY ROAD & THE ANYTHING BUT INNOCENT INNOCENTS
& THE CAPO & UNKNOWN & & & &"
(-die-unschuldigen-ich-und-die-unbekannte]
Let
me say at once that
COUNTRY ROAD
-
as I think of it -
is a
MANIFEST, A DEMONSTRATION
of Handke’s
JOY IN LANGUAGE
All his baby tongues
are wagging as though freshly
born
in masterly virtuoso fashion.
E.G.:
Eine
Schlangenhaut, von gestern. Ja, dem groBen Bogen! Aufrauschen der Sommerbaume,
Rauschen des Sommers. Anbrausen der Herbstbaume, Brausen des Herbstes, Ansausen
der Winterbaume, Sausen des Winters. Die summende Luft ueber der StraBe, wie ueber
Prosperos Insel - Der Weg ist das Ziel: B1oedsinn. Herrliche Weglosigkeit,
endlich. Wie erfuellt du bist von all dem Nichts und wieder Nichts auf und an
der LandstraBe. Wie aber haltst du's mit unsereinem? Nichts als Grillen,
Libellen, Schachtelhalme, Zuchtwiesel, Zuchtbrennessel, Zuchtloewenzahn, wilde
Kresse, wilde Awpfel, wilder Spargel, Wildsauerampfer, Wildreis, Wildsaue. 0
Wildnis. Kann es nicht sein, daB deine Grille mit ihrem Zirpen sagen will: »1ch
toete dich!«, und daB die Wolfe heulen und der Tiger knurrt aus Liebeskummer oder
aus Verlassenheit? Und dass die Kater so keifen und die Elstern so kreischen,
weil sie einen Ansprechpartner suchen?
I realize once again
that the Wounded Ultra-Loved-Child,
surrogate beneficiary bastard of
his mother Maria Sivec’s huge quantum of love foists, transmits, is the agent,
the transmitter of this love via the love of writing, of language, via
his childhood wound of the need to write
(which our young genius practiced
like a violinist)
to become the greatest of rarities,
a Shakespearean talent.
who
in
COUNTRY ROAD
As a true PROSPERO
magicks the Scene:
Kommen
lassen. Anfliegen lassen. Trauemen lassen. Helltraumen. Umfassend, traumen.
Verbindlich! Freitraumen. Wen? Mich? Uns? Traumtanzen lassen. Gestalten lassen.
Umgestalten lassen. Atifeinandertrrffen, lassen. Wen mit wem ati feinande rtrrffen
lassen? Wen gegen wen? Kommen lassen erst einmal die Szenerie: Und da kommt
sie, da erscheint sie, da fliegt sie mich an, da erstreckt sie sich, die
Landstrajfe, vorderhand leer.
Though most of you are unlikely
to ever see this play performed, it affords immense reading pleasures, no matter
that there are sections that seem questionable to me on first reading and
reading around – I am accustomed to reading Handke’s texts about half a dozen
times prior to commenting. Preferably translating them: ONLY AFER YOU HAVE TRANSLATED
A TEXT MAY YOU COMMENT AND CRITIZICE! – AH, WOULDN’T THAT BE A WONDERFUL!
Michael Roloff, Winter, 2016
THE DRAMATIS PERSONAE:
»Ich«, im Wechsel zwischen Erzaehlendem
und
Ich der Dramatische
(nicht immer unterschieden,
" zeitweise beide in einem)
is how the “I” split between
narrative and dramatic (acting out) one
describes transforming itself:
Dieses
))Ich(( verwandelt sich nun unversehenohne dass ich weiss, wie mir geschiehlt in einen anderen
als der; welcher ich so oder so je gewesen bin oder der je mir vorgeschwebt
hat. ))Ich(( dort am Rande der Landstrassle nehme etwas Dramatisches an)
springe auf, samt Schattenboxen gegen Phantome) und auch die Szenerie) in der
ich mich auf dem Stapel hocken sehe) erscheint mir als eine dramatische)
gar
wiiste) samt jahem Wind-) ja Sturmrooren. Szene und wiist? Und indem ich laut
oder halblaut, denke) mit wie gegen meinen Willen dramatisierender Stimmel
einer grundverschiedenen zu der erzaehlenden zuvor; heitert der Ort, der Platz
die Strasse augenblicks auf, und ebenso ))ich(() der andere Diistere) gar
Drauende am Landstrasseenrand
and now we introduce the main
character, a place, in old accustomed Handke fashion
Ah,
alte StraBe:
Nie im Leben ist mit auf dir, an dir
und mit dir etwas Boeses widerfahren. Alles Widrige habe ich ein jedes Mal
durch dich, dank dir, kraft deiner fahrenlassen k6nnen. Das Boese urn mich,
seinen sonstwo standigen Ansturm, ebenso wie das Boese in mir, meinen sonstwo
bestandigen Urwurm: du LandstraBe hast jeweils beides verlaesslich in Luft
aufgelost.
Und das war dann kein Nichts.
Die
Unschuldigen
(the
innocents)
(nicht
wenige)
(not
too few, among them my double)
unter
ihnen mein Doppelgänger)
and I have a real problem (so far) getting a handle on these
NOT SO INNOCENT INNOCENTS
And what the “I”
-one of whose sides
(via its “double”)
is just like them –
has against them, what bugs
him/ it.
And that might just be a major
problem, structurally, with the play
The Innocent’s spokesperson,
their CAPO
Der Wortfuehrer der Unschuldigen
oder:
Haeuptling/ Capo
There are wonderful exchanges
between the “I” and the Capo toward the final third of the play, that makes the
two virtually inter-changeable.
They share a playful childhood
-------------------
The femme Capo
Die Wortfuehrerin der
Unschuldigen oder:
Haeuptlingsfrau/Haeuptlingin/Frau
And
Die Unbekannte von der LandstraBe
an UNKNOWN WOMAN who looks like
yet a further iteration of the woman who salvages the main character of the
whole production, as of VILLAGES, in SUBDAY BLUES, in VOYAGE BY DUGOUT,
differently, very, each time. Here is her most imaginative representation as an
acknowledged imagined.
BACKGROUND &
REVIEWS @:
http://handke-drama.blogspot.com/2014/10/die-unschuldigen-ich-und-die-unbekannte.html]
http://handke-drama.blogspot.com/2014/10/die-unschuldigen-ich-und-die-unbekannte.html]
Analagous to the way I approached
Handke’s STILL STORM
Except when not!
I will walk the reader through
COUNTRY ROAD,
roughly, quoting from
the text,
in German.
The play is as much of a LESE-STUECK/
PLAY THAT CAN BE READ (is it?) as most of the major Handke’s dramatic texts since
WALK ABOUT THE VILLAGES.
The way the “I” describes
everything that is happening and what it is doing makes it easy to follow, a
major innovation to have the protagonist act in this fashion - looking back to
VOYAGE BY DUGOUT & STORM
STILL
you can sort of see it coming
that Handke would seize this approach.
I have already established the mis-en-scene:
PROSPERO’S CREATION OF
THE COUNTRY ROAD
OUT OF HIS IMAGINATION
(But I want to say that isn’t
Peter Handke ever a bitch! There he is one of the last great lean
walkers on the road, thousands of miles on his boots, allegedly not only to
WALK OFF his angers, to process them, when he is pissed at the many matters
that piss him off, but also because walking is good for his allegedly congenitally
afflicted heart, and he memorializes what a wonderful thing it is to walk no
matter how “hard it has become to walk the
earth”
WALK ABOUT THE VILLAGES (W.A.T.V.)
WALK ABOUT THE VILLAGES (W.A.T.V.)
And what wonderful evocation it
is.
COUNTRY ROAD
with its “I”, that itself splits
into a narrative observer and a dramatic acting-out which moreover,
sometimes, coincides!
[I myself don’t see the
“I”’s two sides talking in a different manner, say, syntactically, as the characters in VILLAGES do, thus their there achieving distinct individuality albeit in an unusual manner.]
“I”’s two sides talking in a different manner, say, syntactically, as the characters in VILLAGES do, thus their there achieving distinct individuality albeit in an unusual manner.]
The “I” which also has a double, a Doppelgänger, among the NOT SO INNOCENT INNOCENTS signifies that
part of this DIVIDED EGO is afflicted with the ailments, characteristics it
derides, which complicates matters even further – and I will get to what these
matters are that bug the “I” about these NOT SO INNOCENT INNOCENTS.
(Whether the distinction among the theatrical
and dramatic “I” are important, and obvious when the play is performed? Well,
the “I” tells you, us each time it switches!)
The “I” and the Capo/ Chief, e.g. share a childhood! Thus they are
much alike, and this childhood bears strong resemblance to the kind of personal
childhood Handke has evoked both in the 1982 W.A.T.V and in the 2008
STILL STORM
As mentioned, dramaturgically, in
an extra-ordinary move, if I am reading correctly, Handke’s directions are part
of the spoken text; that is, the "I" “tells” us what it is doing,
from one moment to the next & also what it is now creating! This makes for
an immense text – the German book is 175 pages! –
25,000 words at
least!
And since the play is so
forthright with its dramaturgy I will take forthrightness one or two steps
further.
As my as director
director’s mis-en-scene
imagine a
COUNTRY ROAD
that consists of a much enlarged
top of peter handke’s head which means we have to mow through the nicely intact
full head of hair.
Out of this curved road burst
forth, initially, the "I” as a marionette doll, manipulated by the author
underneath! After all, he is the creator director of this piece!
[Handke of course is obviously not
a “flathead” - a curved country road might signify a Chaussee, the water flows off and does not accumulate
puddles? which would be wrong for a country road!]
COUNTRY ROAD’S
major
change in dramaturgy is an activist act within the tradition of Handke’s
activist non-illusory playful formalized happenings dramaturgy
[See my reply to Oberender
& also over-all agreement
with Klaus Kastberger
Since I need to imagine a
production in order to discern what effect the play will have on an audience I
am not sure what - aside being disconcerted and puzzled – fascinated –
enthralled = the dramaturgical
innovation will produce in me as audience –
it ought to be welcomed, it is one of the
final consequences drawn from
one-person-performance art,!
The piece has no end of odd moments
and oddities that counter-act a naturalist take, and this produces a kind of Brechtian
ESTRANGEMENT ???
Instantaneously, thus
far more efficiently.
[EXAMPLE/S]
The first I think is of a kind that
shows how nearly we are back at versification,
exalted speech.
In that respect Handke is not the only German dramatist.
Mich aufs Spiel zu setzen, fern vom
rch, dem Erzahler:
schon spiire ich das Heimweh. Und doch.
Du liebe
Zeit. Liebe Zeit? Ach, Leute. Leute?
Liebe? Ach. Der Wind
weht, wo er will? Schon war's. Schon
war's. 's war einmal.
Tauet, Himmel, den Gerechten, Wolken,
regnet ihn herab?
Tautropfen, das da, von der Nacht und
vom Morgen iibriggeblieben
im StraBenrandgras hier? Angstschweill!
Tropfen
um Tropfen, Tropfchen um Tropfchen von
AngstschweiB
oben an den Halmspitzen glitzernd und
funkelnd, milli-·
ardenfach, zitternd im Friihlingswind,
der langst nur mehr
weht, wo er muB, gestern sechs, heute
sieben und morgen
acht Milliarden von Tropfen und
Tropfchen im Wind wechselnd
quer durch das Spektrum von Bronze zu
Gold zu Lila
zu Purpur zu Kobalt, wie vorzeiten der Tau im Gras
Example # 2: Perhaps
This way of establishing timelessness of stupidity, of the INNOCENTS is?
Die
ersten Unsterblichen, das sind wir, du, du und ich,und aile andern hier in unserem Freilichtspiel,
und die letzten Sterblichen, die letzten, die noch sterben mussen, sind unsereEltern.
Unsere Kinder werden einen Vater und eine Mutter haben von jetzt bis in die
Ewigkeit
Which resolves itself into a revenant
from dream play Ride Across Lake
Constance>
ZWEITER
Traumst du, oder redest du?
DRITTER
Stimmt: Man glaubt sich hier auf
Tahiti. Traumreise, Hauptgewinn:
Weiller Sand und ein gewonnenes Land.
Nur die
Frauen fehlen.
ZWEITER Stimmt: Wo sind die Frauen?
Wann treten sie auf?
If the play is done in marionette-fashion? will emphasizing
its artificial playful nature be sufficient recompense?
The play not having been – best I know --
translated, forces me to provide a step by step precis of the way it develops, scene
by scene, and initially it is quite straight forward.
COUNTRY ROAD
is an unusually curious play & I am
not at all positive that despite explicating it and reading it a few times and
dwelling on it for a few weeks I have the proper handle on it. However, it
strikes me that it is very much of an example of „Es ist eine Art Schutz, nur
mit sich selbst zu sprechen.“ (Peter Handke, “it’s a kind of safe guard to talk
to oneself”) that is, that it is more than unusually solipsistic… Handke used
to say early on that no matter how unsettled he happened to be what he wrote
then came out looking surprisingly calm, and I think obsessive writer that he
still seems to be, writing was a way for him to overcome anxiety, which over-coming
produced a sense of the heroic and grandiose.
=IV=B=
The first 33 pages of the
play proceed in a straight-forward, slowly paced, exactingly-fashioned manner
& ought not to present problems either for the director or actor “I” &
the audience to follow, although at that point – at the inception of actual
dialogue section between the “I” and the CAPO of the INNOCENTS
the PLACE = that is THE COUNTRY ROAD has become an
unpredictable locale
where identities can be switched.
the “I” has transformed itself briefly
into CALIBAN
had not functioned only as the PROSPERO
that created COUNTRY ROAD
on which the play proceeds
THE INNOCENTS
are not exclusively a UNIFORFM MASS or ENSEMBLE
but a set of individuals.
Matters become
problematic, for me perhaps for no one else, with the appearance of the
INNOCENTS & THE INNOCENT WOMAN
as I will discuss below;
and throughout the
play and also
when the text calls
for novelistically differentiated actions on the order of such minutae as cannot
be presented on stage
ONE EXAMPLE OF MANY
das ist beileibe nicht jenes Aufschauen
und schon gar nicht jenes Mich-Anschauen, wie es mir, friiher einma4 getraumt
hat.
How does one represent “frueher/earlier”
on stage except unless the
character describes his feelings? A novel!
or film –
as a reader you have
no problems:
it’s a great
reading play
http://tinyurl.com/h2awuk6
and experience
because the
“I”
either as
NARRATOR or DRAMATIZER
leads and explains
as no novelist has made it easy for us readers for a very
long time!
Yet even a mere
reader methunks, will be deeply puzzled
by the behavior of THE INNOCENTS – see anon.
The methodical manner in which Handke proceeds initially in
establishing the
PLACE
reminds those
who know their Handke
that he has tied all his
ASSAYINGS
[as I think of his ESSAYS]
THE ESSAY ON TIREDNESS
THE ESSAY ON THE JUKEBOX
ON THE SHITHOUSE
Even his DON JUAN
etc
to a particular place
and that
HOUR WE KNEW NOTHING OF EACH OTHER
plays on a PLAZA
that is now
COUNTRY ROAD
a quite different open
SPACE
Whose status & nature the “I”
Defends
Against change and innovation
that the so-called INNOCENTS
propose.
The play is supposed to have originated as a polemic,
INNOCENTS is supposedly meant ironically but in that case
serious charges need to be filed!
And what they are accused of all seems rather trivial!
Handke has become a rather positive fellow, he no longer
goes around
Saying “fat Austria”
He’s become a Patriot!
http://diepresse.com/home/kultur/news/4931329/Handke_Ich-habe-Sympathie-fur-die-Schmiere
He’s become a politician! You have no influence by being
purely negative!
Those who know their Handke may recall that in
WALK ABOUT THE VILLAGES
one of whose two mise en scene’s
is a construction site
the new Cement structure is adjudged to eventually looking
beautiful.
No such allowance is made here for changes in this “country
road”,
which we may regard as a marker for Handke’s progressive
conservatism.
Handke, once nauseated by a mere whisp of hay, meanwhile
sleeps in haystacks! is my shorthand for that development that had its first
major inception around the time of
A SLOW HOMECOMING.
Living for seven years in Salzburg and living amongst the
“fat Austrians”
and fleeing back to Paris in the mid-80s might of course to
have made him question his conservatism, but no,
Handke went back to writing by pencil,
sacrificing the type writer
except for writing dialogue!
A pencil slows you nicely down!
Handke is showing himself to be yet another of these great
Catholic (Orthodox) writers who yet continue to be astonishingly and uniquely
innovative in their craft
as here with developing
large-scale theater out
of one person performance art, something he started to do
directly
with SUBDAY BLUES.
Whatever works works!
The methodical manner in which the ground has been laid by
page 33 -
one sixth of the way
through a 175 page
text! -
makes me aware that this we are taking
a fair amount of time, aren’t we, for the playing to seriously begin, that we
find ourselves in an unusual world, not just any old “country road.”
Shakespeare
would establish this in a
few bold strokes, wouldn’t’ he, which we -
who grant Handke his
knowledge of the Bard –
conclude that Handke is
establishing HIS SENSE OF TIME
after all, we who know our
Handke know that our genius is a most adept magician, also syntactically, say
in THE REPETITION.
Will the audience be swayed
to slow down into his time? It certainly is worth
the wait for the extraordinary verbal pay-off that awaits. And then there will
be very light sequences - we are back in the world of Raimund/ Nestroy as
Handke has slipped into it at other times as a dramatist, although
the way the dialogue starts – when it finally starts –
between the “I” and the CAPO
strikes me as rather flat, monotonous, repetitious
not one of the highpoints of Handke’s wit compared with the
wittiness he was capable of in THEY ARE DYING Out
as matter of fact the argument that the CAPO OF THE
INNOCENTS has with “I”
is cast in much the same manner as tht between Quitt (the
“unreasonable one”) and the various business folk
in T.A.D.O.
Perhaps there is only one fundamental adversary position,
but Handke in that respect has been repeating himself for about 50 years.
The big difference here is that
LE UNRAISONABLE
is the IMPOTENT “I”
who feels that he can’t beat THE INNOCENTS
Who is the loser in that respect?
And is infuriated into becoming a rapist of one of the
INNOCENT WOMEN
which elicits a series of self-destructive
self-recriminatory acts on his part.
A bit of psychological motivation for a change, or so it
seems to me.
However, the argument, the dispute between the “I” and the
INNOCENTS and their leader remains obscure, it isn’t as if the INNOCENTS want
to convert the COUNTRY ROAD into a super-highway, after all, the workers would
support that for various reasons, and so far this remains a weak fulcrum for
me. I’ll reread the pertinent sequences few more times, because if the “reason”
for wanting to salvage the COUNTRY ROAD are merely sentimental and
idiosyncratic
HIS CONSERVATISM
stands on rather weak legs!
Perhaps that is even acknowledged by being such a weakling
and starting to stutter when he feels he has been out-argued.
Perhaps Handke wants to avoid a conventional clash between
so-called “progressivism” & remaining put?
I will enumerate and comment on the various numerable
sections
from IV-1 onwards
=IV-1=
The opening sequence eventuates
in a quite splendid evocation of a country road/ place, as is fitting for
Handke,
Und da kommt
sie, da erscheint sie, da fliegt sie mich an, da erstreckt sie sich, die
Landstrasse, vorderhand leer. Und indem ich mir das laut vorerzaehle, ist die
Strasse auch schon bevoelkert mit mir, der ICH am Rand der Strasse
daherschlendere, mit ausgreifenden, epischen Schritten, vorderhand allein
Initially the “I” narrator had
expresses ambivalence re wanting to ctd. to venture forth as “dramatic” I or a
“narrative”, just as recently in this interview
http://www.faz.net/aktuell/feuilleton/buecher/autoren/schriftsteller-peter-handke-im-interview-ueber-die-wut-13847922.html?printPagedArticle=true#pageIndex_2
and at other times Handke
mentioned that at this point in his life he waffles but then prefers writing epic
plays to epic prose, whereas the opposite was the case for most of his life. Of
course Handke does not write naturalistic plays and I don’t think is able to
write a line of naturalistic dialogue, something I discovered 30 years ago when
analyzing the screenplay for
HIMMEL UEBER BERLIN/ WINGS OF
DESIRE. Here
Kommen
lassen. Anfliegen lassen. Traumen lassen. Helltraumen. Umfassendtraumen.
Verbindlich! Und da kommt sie, da erscheintsie, da fliegt
sie mich an, da erstreckt sie sich, die Landstrasse, vorderhand leer. Und indem
ich mir das laut vorerzaehle, ist die Strasse auch schon bevoelkert mit mir,
der ICH am Rand der Strasse daherschlendere,
The imagination is invoked as
justification for entering the road in that – PHANTASY - fashion & the
pleasure about being there, and this may very well approximate the pleasure that
great walker Peter Handke experiences who wrote in
WALK ABOUT THE VIILAGES
http://handke-drama.blogspot.com/2010/06/walk-about-villages-ueber-die-doerfer.html
http://handke-drama.blogspot.com/2013/07/par-les-villages-avignon-handkes.html
that it “has become hard to walk on the earth”
feels when he sets out
Und es
geschieht jetzt, darf ICH mich am Rand der Landstrasse, der Departementale, der
Carretera, der Magistrala niederlasse. Da zeigt sich naemlich eine
Sitzgelegenheit, ein Gestell aus Holz; Stein, Beton, eher ein Verschlag. Auch
Schilfteile sind darunter. Es konnte sich um einen aus frueheren Zeiten am
Strassenrand uebriggebliebenen, laengst ausgedienten Milchstand handeln, oder
auch um den dachlosen Rest einer seit langem verlassenen Bushaltestelle, einer
Schafhuerde …..
Aber Achtung: Menschenleerenicht gleich
Menschenferne. So, hier allein, fuhleund weill ich mich UNTER UNS. Freude,
holder Niemandsfunken. Ort, der keine Verschwisterung braucht mit einemandern,
auch nicht in Mali oder Vietnam! Der einzige Ort,wo ich nicht in die Menschen-,
in die Unschuldigenfalle geratenbin, noch nicht '" Heimgekehrt hier an die
alte StraBe,in die andere Zeit. Das Epos ohne Krieg. Das Dram ohne Intrige.
=IV-2=
It is of course very odd, the moment of first
encounter with
DIE UNSCHCHULDIGEN
Und dann
spuckt der ERSTE der UNSCHULDICEN in dieser Stunde an der alten Landstrasse vor
mir aus, spuckt, nach einerlangwierigen, kunstvollen Vorbereitung, mir wie vor
die Fuesse, dabei ohne jeden boesen Willen, Vorsatz oder Hintergedanken, so blind
wie blindlings, spuckt im Weitergehen noch ein zweites Mal ein drittes, was durch die Wiederholung einen Anschein von Uebelwollen
oder gar Verwunschen bekommt, was in Wirklichkeit gar nicht der Fall ist, und
laesst im Verschwinden, Gipfelpunkt der Unschuld, auch noch, wie tief in einem
Tagtraum gefangen, eine wenn nicht fuftball- so doch tennis ballgrsse
First of all, the audience will be puzzled by these
INNOCENT ACTIONS and not believe the NARRTOR’S ASSERTSIONS that these actions
are harmless, if in fact the NARRATOR verbalizes here. How is
“was in Wirklichkeit gar nicht der Fall ist,:
to be REPRESENTED
on stage?
Matters become even more puzzling with the
appearance of THE INNOCENT WOMAN
\
Kaum
habe ICH Zeit, ihm nachzublicken, mich ZU setzen atif meinen
LandstraftensitiJ tritt schon der
ZWEITE, der Folge-UNSCHULDICE
atif
den Plan.
first
mistaken (by the I” for the 2nd INNOCENT – HOW are we to tell, as
the audience, except told by the “I” that he is mistaken? It is very odd since
we are working without the expected psychological motivation, nothing new for
Handke to dispense with psychology. Yet we are working more on the order of the
representation of a narrative in hieroglyphics? Yet, psychology seems to
intrude? Or is that merely I? my interpretation.
Action,
experience before interpretation???
The appearance of the INNOCENTS and their behavior
as well as the interaction with the “I”
reminds me that
lots of matters don’t make sense in LAKE CONSTANCE
a dream play!
And that that is one major means of creating a
dream state for the audience, for it to be magicked!
=IV-B-3=
The appearance of the INNOCENT WOMAN
DIE UNSCHULDIGE
Ich kenne dich. Lieblingsgetrank: Holundersaft.
Ein seit Jahrzehnteneingewachsener Zehennagel, nicht wahr, aber halb so schlimm,
du bist nicht der einzige mit dem Problem. Bei mindestens jedem zweiten Mal das
Hemd falsch zugeknoepft, aber auch da bist du kein rarer Vogel. Die Manner
meines Lebenshaben sich freilich nie die Hemden falsch zugeknopft, keiner. …
Nichts fUr ungut, das jetzt ist nicht dein Spiel,
kein Spiel fuer einen Unter-dem-Standard, einen Bastard, eine Landstrssenmischung.
Weg mit deiner Freude allein unterm HimmeL
Lust, Lust, nichts als Lust! Ich meines Mannes Urn und Auf, und er mein Dran
und Drauf. Von Fuss bis Kamm, ein ganzer Mann. - Wie zu sich selber: Ein ganzer Mann, der dauert bloss nie an,
selten eine Stunde, meistens nur eine Sekunde.Es gibt kein Mittel gegen mich,
als hin zu mit
troubles this translator of
WALK ABOUT THE VILLAGEES
and close reader of STILL STORM
[and of Malte Herwig’s Handke biography & his
own efforts
along that
line
for being cast in the same mode: short sentences
addressed to the protagonist, the Bastard child, but no longer the returning
prodigal son, although this amusing speech could as easily be placed as an
extension of the aforementioned plays that both feature Peter Handke’s
childhood. Nothing like making your own childhood childhood per se! And Handke
also resorts to a version of his own childhood in the “I’s” “self-berating
section
that follows his brief transformation into Caliban.
The
so-knowing INNOCENCIA sounds like a disappointed lover who disposed of “I” at
some point in the past, who now happens by and knows him, the so-called
INNOCENT WOMAN
& INNOCENCIA herself who it sounds loves to
fuck!
She disappears and a whole bunch of other INNOCENTS
appear
Und bei dem
oder der DRITTEN habe ICH die Geste des Gruessens nicht mehr versucht oder sie gar
nicht mehr so recht gewagt. Trotzdem habe ICH mich wohl weiterhin irgendwie
gebaerdet, und die ANDERE ist mit einem
Ruck zum Stehen gekommen und hat mich starrer nicht moeglich, ins Auge gefasst.
Auch scheint sie mich oder den, den sie, er vor sich hat ZU kennen. Er, sie
bleibt aber stumm, zieht hoechstens lautstark, was for ein Zischen, die Luft zwischen
Lippen und Zaehne, zupft sich am Ohrlaeppchen, schuettelt den Kopf und geht so,
weiter kopfschuettelnd …
once again behaving extremely oddly.
Normalerweise
wurde ich mir das wohl gefallen lassen es kiinnte michSogar erheitern und ich
hatte die Gehweise dieser UNSCRULDfGEN notiert skiZZiert gezeichnet - und wenn bioft in
den Ltiftraum. Das tue fCR im ubrigen auch jezt ziemlich ungebeardig wieder,
was meinem ueblichen “Ich” oder Wesen spuerbar auch mir seiber, zuwider latift.
Doch jenes andere Ich} wie, es fur die Zeit dieses Dramas bestimmt ist
zeigt sich staerker als mein gewohntes Ich oder
Wesen es geht geradezu mit mir durch. Dasgeschieht freilich nicht zumm ersten
Mal in meinem Leben} beileibe nicht. Aber zum ersten Mal lasse ich es} statt
daft es nur passier0 geschehen. Mag es doch mit mir durchgehen - soli es!
==IV-B-4=
Meanwhile – during the process of being addressed
by the INNOCENTS it looks like - the “I” has been transformed
into Caliban~
Schon sieht
das Wesen} als das ich mich jetzt entpuppe} nicht aus. Es
ist} als haette
ich mich von einem Augenblick zum andern umgestuelpt und deljenige} der eben
noch so gruss tbereit wie gruslbeduiftig seinen halben HochsitZ am Rande der
Landstrafte eingenommen ha0 zuletzt still von ihm aufgestanden iSt hat sich}
mit einem Sprung hinab atg die wiederleere Strafte} in ein Unwesen verwandelt.
Dieses ahmt mehr schlechals rech0 wie immer, wenn feR mir nicht anders ZU
helfen weiss, kreuz und quer ueber die Szene die eben vorbei deftlierten
UNSCRULDfGEN nach} ein Nachahmen} das dann umspringt in ein Nachaeffen}
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