ANTI-HANDKE: A COLLECTION OF HANDKE CRITICISM, EDIFYING, HORRIFFIC
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an accumulation of opposition to Handke, the person, the art - from the purely madly venomous to the ridiculous...
TTC

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Four links that provide a great deal of information about the detestable Franz Krahberger of

redact@ejournal.at

 

http://twylyfe.kultur.at/log/base/handke.htm

http://www.thingatejournal.freeservers.com

http://www.anti-handke.scriptmania.com/

 

 

to  the various subsites:

http://www.handkedrama.scriptmania.com

and is 'LYNX' PAGE to access the 12 other subsites.

 

A FAIRLY CLEVER LITTLE MANIFESTO, ANTI-HANDKE, WRITTEN VERY MUCH A LA HANDKE SERIAL PROCEDURE THAT I FOUND ON THE WEb!!


A MANIFESTO: (by Peter Handke)

Refuse to make any statements.

Don't let the truth slip out.

Lie through your teeth.

Turn things upside-down.

Don't let reality become language, let language become reality.

Don't talk about language.

Get tied up in contradictions.

Don't write for today.

Don't write for eternity.

Keep everything in the balance.

Don't face the facts.

Don't keep both feet on the ground.

Don't set up rules for other people.

Stress the importance of conversation as first and last aid.

Learn how to die from wildwest films.

Recognise in even the smallest gut-spilled frog the absence of God.

Overshoot the mark in youthful exuberance.

Put your self first.

Don't try to put yourself in anyone else's position.

Write only about yourself.

Always act premeditatedly.

Don't exchange thoughts with anyone.

Seek to talk your way out by writing.

Distance yourself from all things human.

Go to the movies.

Lie in the grass.

Don't compose manifestos.

Buy black shoe-polish.

Get to be world famous.


 
ttc

ttc


Talk to the Handke
A genocide-supporting playwright finds a home at Yale Cabaret.

- July 7, 2005

PROMOTIONAL PHOTO
Feature
Peter Handke: My word!
Peter Handke is no stranger to controversy, but he's really outdone himself this time. The playwright earned the cover of the current issue of the esteemed German literary magazine Literaturen for his lengthy article in defense of Slobodan Milosevic, the Serbian perpetrator of ethnic cleansing and current defendant at the International War Crimes Tribunal at the Hague. Handke's article attracted the scorn of literati and human-rights activists the world over, but not, apparently, the slings and arrows of the Yale Summer Cabaret, which is presently mounting a production of Handke's Self-Accusation .

European intellectuals were already beside themselves before the offending article was published: Handke was "the international moron of the year" (Salman Rushdie), "an ideological monster" (Alain Finkelkraut), "a contributor to the poetic-military complex" (Slajov Zizek).

I was planning to check out Yale Cabaret's presentation, but first placed a call to the German intellectual Stephan Thiele to find out what sort of commotion I might expect. Thiele told me that if a Handke play went up in his town of Bielefelda university town approximately the size of New Haven"there would probably be petitions, protests, that sort of thing."

Heightening the possible tension: The director of the play is Bosnian native Tea Alagic, a witness to the very Serbian atrocities that Handke denies took place. Everything was lined up for a four-star controversy.

Outstanding as the opening-night performance of Self-Accusation was, the controversy was absent. No petitions, no protests. One elderly woman didn't return after intermission, a gesture that, even generously interpreted, doesn't amount to protest.

Why has New Haven missed the Handke scandal boat?

Curiously, the Summer Cabaret's artistic directors, Kristina Mendicino and Alagic, aren't ones to shy away from scandal. Their "manifesto," posted on the web soon after the pair signed on at the Cabaret, was designed to provoke. When the duo selected their shows, sparking controversy was first-and-foremost on their agenda.

What, then, accounts for the quiet? Mendicino pegs it to a lack of "critical vocabulary" in the United States; theater doesn't have much of a role in this country's public life. Or, as Alagic put it: "What creates controversy in this country? Michael Jackson and Monica Lewinsky!"

Alagic's relationship to the play reveals much about the way it's being presented to the public. Alagic claims that Handke's previous pro-Serbian comments had not affected her understanding of the work. "I do not want to be one of those people that judges an artist because of his politics," she says. And considering that Self-Accusation was written almost 40 years ago, that is perhaps an understandable choice.

But, in her attempt to avoid moralizing, Alagic has put up a show completely devoid of explicit political content. This is a shame, because even a short conversation with Alagic reveals that her memories of Bosnia are emotionally rich and raw. Her split of Handke's aesthetics from his politics is also in contradiction with her own manifesto, which claims that a focus on "contemporary issues" will be a priority.

So Mendicino's attributing the play's lack of resonance in town to America's general lack of "critical vocabulary" falls flat. People build a vocabulary by having exposure to new work, and by building off of the vocabulary they already have; these are opportunities, however, that Alagic and Mendecino haven't grabbed.


tc

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