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Abstract
Peter Handke and Franz Xaver Kroetz have, as both will readily admit, very little in common. If anything, they occupy opposite ends in the spectrum of contemporary German dramaturgy and, with each successive play, seem to move further apart. Handke's abstract subjectivity has in recent plays (such as Vber die Dörfer, 198 I ) deepened into neaI mysticism. Kroetz, on the other hand , has moved from sub-proletarian naturalism to , more recently, an almost cinematic depiction of middle-class moral styles (as in Furchl und Hoffnung der BDR, [984). Handke is a private person, an individualist with an aversionto labels, systems, and political affiliations. His critical acclaim has always been greater than his popularity and some of his best writing has been done in the novel, rather than the dramatic genre. Kroetz is a highly prolific and populaI playwright (and actor). Much produced, often interviewed, he is outspoken, polemical, politically engaged, a one-time member and even spokesman of the German Communist Party (KPD).
Published Version
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