Peter Handke - The Ride Across Lake Constance and Other Plays

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This volume of Handke's plays includes two full-length and four shorter plays by the young Austrian playwright. The first of the full-length plays,
is one of Handke's best-known works. It deals directly with one of Handke's favorite themes: the realities of theater itself, independent of the offstage world, and the way language (dialogue) and objects (props) operate in the skewed world of the stage. Therein it anticipates
, Handke's most recent full-length play, which is also in this volume. In some ways more conventional than many of Handke's plays,
presents one of his most fascinating protagonists, Quitt, a businessman who first induces a group of colleagues to set up a monopoly and then torpedoes the scheme. The four short plays that round out the book-
and
-were written between 1966 and 1969, before
(1971), and show Handke moving from the experimental mode of his early work toward the richness and complexity that have marked him as the most important dramatist since Becket; they bear witness to the truth of Richard Gilman's observation that "in Handke's theater, language, exposed, assaulted, wrestled with, driven to limits, and pursued still further, begins to take on, like the color returning to the cheeks of a nearly hanged man, the signs of a strange and unexpected resurrection."

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GEORGE

Give me the paper. ( Pause. Then she gives him the paper, but does so as if she had given it to him at once. GEORGE opens it, looks at it only after an interval. Pause. Then he exclaims as if he had seen the picture on first glance. ) Ice floes!

( Pause .)

PORTEN

( Lively ) Really? ( Pause. ) How much do you weigh?

( Pause. )

GEORGE

Two hundred eighteen pounds.

( Pause. )

PORTEN

O God!

( Pause. )

JANNINGS

( Shakes his head. He hesitates and looks at GEORGE.) Why are you shaking your head? Do you want to contradict me?

GEORGE

I am neither shaking my head nor would I, even if I shook my head, thereby want to contradict you.

PORTEN

(To JANNINGS) You were shaking your head yourself.

JANNINGS

That was me?

VON STROHEIM

That was you.

JANNINGS

( Looks to GEORGE.) Who is speaking?

VON STROHEIM

I am.

JANNINGS

( To VON STROHEIM) That was you?

GEORGE

Yes.

JANNINGS

( To GEORGE) You’re talking?

GEORGE

Are you dreaming?

JANNINGS

Am I in earth, in heaven, or in hell?

Sleeping or waking, mad or well-advised?

Known unto these, and to myself disguised:

Am I transformed, master, am not I?

( Pause. To GEORGE) Do you have a match?

GEORGE

Yes.

( Pause. JANNINGS points with his finger on the table, but the others look at his finger. At last he looks at his finger too and lets his hand drop. Pause. VON STROHEIM wants to pull out the red cloth .)

JANNINGS

( Sees it and screams ) No! (VON STROHEIM puts it away again instantly. Pause. PORTEN begins to laugh, becomes quiet immediately . GEORGE looks at her questioningly, she only shakes her head. Pause .) Let us pray to God.

PORTEN

( Instantly ) My candy.

BERGNER

( In her sleep ) There’s a rat in the kitchen.

( Pause .)

VON STROHEIM

( Reaches into the cigar box. He asks) May I take one? ( They look at him, he pulls back his hand. He asks once more ) May I take a cigar? ( And already extends his hand. They look at him and he pulls back his hand. With arms pressed to his sides, he asks once more ) May I take one? ( No one looks at him and he takes a cigar. PORTEN gives him the ashtray.)

GEORGE

(To PORTEN) Thank you.

PORTEN

Why are you thanking me?

GEORGE

Because that would have been my job.

( Long pause. GEORGE lifts up the teapot and puts it down again. )

JANNINGS

( Upbraids him .) What do you mean by that?

GEORGE

( Pulls in his head. Pause. He takes out a piece of chocolate candy, removes the silver foil, and eats the candy. After he has consumed it, he asks PORTEN) Or did you want a piece of it? ( She doesn’t replay. He stares into the paper .) Just now I read the word snowstorm , and now I can’t find it any more!

( All stare into the paper. Pause. )

VON STROHEIM

( To PORTEN) Do you have the number 23-32-322?

PORTEN

No, I have the number 233-23-22. (Brief pause.) In my neighborhood there is a shopping center with stores, restaurants, and …

VON STROHEIM

A movie house?

PORTEN

Why? ( Pause. ) I once attended a going-out-of-business sale …

GEORGE

And everyone screamed, ran around, and turned over the furniture?

PORTEN

No. They — Yes! They turned over the furniture, screamed, and ran around! ( She looks at him happily, becomes serious again instantly. Suddenly delighted, to VON STROHEIM) 23-32-322? Yes, that is my number. ( Pause. She looks at GEORGE for a long time .)

GEORGE

Why do you look at me like that?

PORTEN

I’m afraid I might not be able to recognize you again. ( She was serious when she began her reply but ended it as a joke. She cuddles her head against her shoulder. Pause. GEORGE lowers his head. ) Hey!

GEORGE

( Shouts at her .) What kind of a feeling do you have? ( He comes to his senses and asks her again kindly ) I wanted to ask you: what kind of feelings do you have?

PORTEN

Too many of them.

JANNINGS

In those days the grass smelled of dog piss before the thunderstorm.

PORTEN

Who’s saying that?

JANNINGS

I?

PORTEN

I see. ( She continues at once .) As a child, if I wanted to have something, I always had to say first what it was called.

GEORGE

(Wants to say something.) And I …

VON STROHEIM

( Irritated ) Yes, people showed me something and then walked away with it — ( Contemplatively ) And I had to follow and get it for myself.

GEORGE

( Wants to say something .) And I …

VON STROHEIM

Or people simply opened the drawer in which the thing was and went away.

GEORGE

(To VON STROHEIM) And so that I could learn to get my Way — (VON STROHEIM looks away . GEORGE turns to JANNINGS.) I was shoved toward the objects that someone had taken from me. (JANNINGS looks away and GEORGE turns to PORTEN.) I was supposed to get them back myself.

PORTEN

( Remembering ) Yes! How I fidgeted then!

VON STROHEIM

( While looking away, speaks to JANNINGS, who is clearing his throat. ) You were about to say something?

JANNINGS

No.

( Pause. )

GEORGE

How strange! ( With this exclamation he wants to call attention to himself, but no one turns to him. Instead, PORTEN winks at JANNINGS, who thereupon puts a finger to his lips and shakes his head. VON STROHEIM then bends forward and elongates an eye with one finger. This time attention is paid to the sign: as a reply JANNINGS pulls his mouth apart with two fingers; thereupon VON STROHEIM turns up the lapel of his jacket by grasping it conspicuously with thumb and little finger, and JANNINGS nods twice . PORTEN, VON STROHEIM, and JANNINGS laugh .) Strange!

PORTEN

( Asks him almost reluctantly ) What’s strange?

GEORGE

( Relieved ) Suddenly I remembered a hill I had climbed with someone and the cloud shadows that appeared and vanished.

PORTEN

And what’s strange about that?

GEORGE

That I should remember it so spontaneously.

PORTEN

( Cleans her eye as if he had spit at her during his discourse. Very hostile ) Put your paper there away.

GEORGE

It’s not my paper.

PORTEN

( Snaps the paper away .) And move your cup away from there. ( She snaps her fingers against the cup so that it turns over. )

GEORGE

It isn’t my cup.

PORTEN

And spare me your recollections. ( She instantly continues kindly to YON STROHEIM) Do you know the expression “To mention the noose in the house of the man who’s been hanged”?

(JANNINGS laughs , VON STROHEIM smiles .)

GEORGE

Why are you so hostile?

PORTEN

And why are you so pale?

GEORGE

I’m not pale!

PORTEN

And I’m not hostile! ( She continues at once .) Do you know the expression “To place one’s hands on one’s head”?

GEORGE

( Looks at JANNINGS; then replies .) Certainly.

PORTEN

Why do you look at him before answering?

GEORGE

It’s a habit.

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