Free Kaspar and Other Plays by Peter Handke

step in the same manner but reverse the order. With the next step, he throws one leg high in the air and drags the other leg heavily behind him; the next step, he has both feet flat on the ground; the next he takes with the wrong foot first, so that with the subsequent step he must put the other leg far forward to catch up with the first leg; he takes the next two steps ( his pace quickens and he comes close to toppling over ) by placing the right leg on the left and the left leg on the right, and he almost falls; on the next step, he is unable to get one leg past the other and steps on it; again, he barely avoids falling; the next step he takes is so long he almost slips into a split, consequently he must drag the other leg laboriously after him; in the meantime he has tried to move the right leg further forward, but in another direction, so once more he almost loses his balance; on the next step, which is even more hurried, he places one foot toeforward, the other toe-backwards, whereupon he attempts to align the toe on one foot with the toe on the other, becomes discombobulated, turns on his axis, and, as the audience has feared all along, finally falls to the ground. Before this occurs, however, he has not been walking toward the audience; his walk consists of spirals back and forth across the stage; it is not so much walking as something between an imminent fall and convoluted progress, with one hand holding on to the hat, a hand which remains on his head when he does fall. At the end of his fall, the audience sees Kaspar sitting on the stage floor in something like a disorderly lotus-position. He does not move; only the hand holding the hat becomes autonomous: it gradually lets go of the hat, slips down along his body, dangling awhile before it too stops. Kaspar just sits there.

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    IV
    He begins to speak. He utters a single sentence over and over: I want to be a person like somebody else was once. He utters the sentence so that it is obvious that he has no concept of what it means, without expressing anything but that he lacks awareness of the meaning of the sentence. He repeats the sentence several times at regular intervals.
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    V
    In the same position on the floor, the lotus position, Kaspar repeats the sentence, now giving it almost every possible kind of expression. He utters it with an expression of perseverance, utters it as a question, exclaims it, scans it as though it were verse. He utters it with an expression of happiness, of relief. He hyphenates the sentence. He utters it in anger and with impatience; with extreme fear. He utters it as a greeting, as an invocation in a litany, as an answer to a question, as an order, as an imprecation. Then, in monotone, he sings the sentence. Finally he screams it.
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    VI
    When this does not get him anywhere, he gets up. First he tries getting up all at once. He fails. Halfway up, he falls down again. On the second attempt he gets almost all the way up, only to fall once more. Now he laboriously draws his legs out from under him, during which process, his toes get caught on the back of his knees. Finally he pries his legs apart with his hands. He stretches out his legs. He looks at his legs. At the same time he bends his knees, drawing them toward himself. Suddenly he is squatting. He watches as the floor leaves him. He points with his hand at the floor which is becoming more remote. He utters his sentence with an air of wonderment. Now he is standing upright, turns his head this way and that, toward the objects on stage, and repeats the sentence: I want to be a person like somebody else was once.

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    VII
    He begins to walk again, still in an artificial manner, but now more regularly: for example, the feet are turned inward, the knees stiff; the arms hang slack, as do the fingers. He directs his sentence, not tonelessly yet without expressing anything, at a chair. He directs the sentence, expressing with it that the first chair has not heard him, at the next