I would like to explain a few aspects of Peter Handke's plays, not from the critic's point of view, but from that of direct practical work. By way of introducing my credentials for this task, let me say that I directed the world premiere in West Germany of Offending the Audience in 1966 and subsequent world premieres up to and including The Ride Across Lake Constance.

For those unfamiliar with the German theatre scene, it can be stated that Handke's works are played today on stages all over the country. Their premieres are the highlights of the season. This has given the critic cause to reflect on the theatre in general and the phenomenon of Handke in particular. For some of Handke's plays are being performed in numbers similiar to the musical successes on Broadway, and his books and essays can be found at the top of best-seller lists. And then, too, his works are just beginning to reach the stages of other countries in Europe, not to mention America.