This tells his keynote story of the passenger ship owner who manages to overcome his doubts as to whether his ship is actually seaworthy. He does this not by having her overhauled and refitted but by trusting in Providence.
The ship sails and then sinks in mid-ocean.
Is the ship owner guilty of the death of passengers and crew? Undoubtedly.
Last time I explained why I think it’s so important to have a workable principle of good and safe believing.
In short, it’s because we need an antidote for the kind of fake news which led to the storming of the Capitol building, and for the kind of unjustified religious belief which led to 9/11 and the Spanish Inquisition.
Elisabeth Bergner was born in 1897 in Drohobych, which is now in the Ukraine but was then part of the Austro-Hungarian Empire. Her career began in Austria and Germany, but the Nazi takeover forced her to move to London in 1933.
To avoid calling them ‘Actor A’, ‘Actor B’ and so on in the published text Handke names the parts after well-known actors. The dramatis personae therefore reads like a who’s who (or wer ist wer?) of 20th Century Germanic cinema, with all that that entails:
Emil Jannings Heinrich George Elisabeth Bergner Henny Porten Erich von Stroheim Alice and Ellen Kessler
Our subject last time was the legend of the ride across Lake Constance. But why did Peter Handke name his play after it?
Not an easy question, as in many respects the play seems incomprehensible. I remember being quite bewildered when we performed it. Any attempt to summarise the plot hits an immediate obstacle in that there is hardly any plot to summarise.
Instead you get occasional patches of apparent clarity which, just as in a dream, seem to change into something entirely different, with an entirely different meaning. Sorry – apparent meaning.
Violinist Joshua Bell is currently Music Director of the Academy of St Martin in the Fields in London. He was born in 1967 in Bloomington, Indiana. At 14 he played with the Philadelphia Orchestra under Riccardo Muti, and he made his Carnegie Hall debut at 17 with the St. Louis Symphony Orchestra. In January 2007, at the age of 39, he was playing to a packed house at Boston’s Symphony Hall, where half-decent seats start at $100.
But three days after that performance he was busking at the L’Enfant Plaza Metro station in Washington DC. He always plays the same violin though, a 1713 Stradivarius. He had bought this a few years previously for an estimated $3.5 million. He played for 43 minutes and made $32.17. Continue reading →