Kaspar and Other Plays Read Free Page A

condemned to watch nor
free to watch. You are the subject. You are the playmakers. You are the counterplotters. You are being aimed at. You are the target of our words. You serve as targets. That is a metaphor. You serve as the target of our metaphors. You serve as metaphors.
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    Of the two poles here, you are the pole at rest. You are in an arrested state. You find yourself in a state of expectation. You are no subjects. You are objects here. You are the objects of our words. Still, you are subjects too.
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    There are no intervals here. The intervals between words lack significance. Here the unspoken word lacks significance. There are no unspoken words here. Our silences say nothing. There is no deafening silence. There is no silent silence. There is no deathly quiet. Speech is not used to create silence here. This play includes no direction telling us to be silent. We make no artificial pauses. Our pauses are natural pauses. Our pauses are not eloquent like speech. We say nothing with our silence. No abyss opens up between words. You cannot read anything between our lines. You cannot read anything in our faces. Our gestures express nothing of consequence to anything. What is inexpressible is not said through silences here. Glances and gestures are not eloquent here. Becoming silent and being silent is no artifice here. There are no silent letters here. There’s only the mute h. That is a pun.
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    You have made up your mind now. You recognized that we negate something. You recognized that we repeat ourselves. You recognized that we contradict ourselves. You recognized that this piece is conducting an argument with the theater. You recognized the dialectical structure of the piece. You recognized a certain spirit of contrariness. The intention of the piece became clear to you. You recognized that we primarily negate. You recognized that we repeat ourselves. You recognize. You see through. You have not made up your mind. You have not seen through the dialectical structure of
the piece. Now you are seeing through. Your thoughts were one thought too slow. Now you have thoughts in the back of your mind.
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    You look charming. You look enchanting. You look dazzling. You look breathtaking. You look unique.
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    But you don’t make an evening. You’re not a brilliant idea. You are tiresome. You are not a thankful subject. You are a theatrical blunder. You are not true to life. You are not theatrically effective. You don’t send us. You don’t enchant us. You don’t dazzle us. You don’t entertain us fabulously. You are not playful. You are not sprightly. You have no tricks up your sleeve. You have no nose for the theater. You have nothing to say. Your debut is unconvincing. You are not with it. You don’t help us pass the time. You are not addressing the human quality in us. You leave us cold.
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    This is no drama. No action that has occurred elsewhere is reenacted here. Only a now and a now and a now exist here. This is no make-believe which re-enacts an action that really happened once upon a time. Time plays no role here. We are not acting out a plot. Therefore we are not playing time. Time is for real here, it expires from one word to the next. Time flies in the words here. It is not alleged that time can be repeated here. No play can be repeated here and play at the same time it did once upon a time. The time here is your time. Space time here is your space time. Here you can compare your time with our time. Time is no noose. That is no make-believe. It is not alleged here that time can be repeated. The umbilical cord connecting you to your time is not severed here. Time is not at play here. We mean business with time here. It is admitted here that time expires from one word to the next. It is admitted that this is your time here. You can check the time here on your watches. No other time governs here. The time that governs here is measured against your breath. Time conforms to