Peter Nadas Burial. Comedy

Burial Comedy without Intermission
Pter Ndas
Imre Goldstein
Common Knowledge, Volume 8, Issue 1, Winter 2002, pp. 218-268 (Article)
Published by Duke University Press
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http://muse.jhu.edu/journals/ckn/summary/v008/8.1nadas.html
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BURIAL
Comedy without Intermission
Pter Ndas
Translated by Imre Goldstein
actor
actress
The stage ought to be a very large, airy, old-fashioned one and stripped as bare
as possible, empty all the way to the upstage wall, which, along with all the other
walls, should be white; the walls should fit together so that they form a smooth,
seamless surface.
Upstage right and left: hidden escape routes.
The floor, covered with something soft, like padded plastic, is light gray.
The stage is slightly raked; to keep the eye from getting lost in this bright desert,
a little above and parallel to the footlight area a single step rises; its not too high,
and the gently slanting slope below it, also light gray, covers the orchestra pit.
On either side of this area below the step, and seemingly thrown against the side
walls, there is a white, rather crudely made wooden coffin; the white paint of the
coffins should be matte so as not to reflect any light.
The lighting is even, white, offensively strong; I might say dazzling, but
only the area above the step is lit this way. Below the step there is only as much
light as is spilled there.
Common Knowledge 8:1
English translation copyright 1998 by Imre Goldstein
218
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The lighting is steady throughout; there will be no changes.
The two performers are dressed exactly alike: very loose and straight white
pants tied with a string at the waist, and a slip-on, collarless, simple, and rather
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long white shirt, all made of some coarse material. They also wear a square cap
made of the same material.

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They are barefoot.
The play could be done with actors of any age, but we must take care that in no
circumstance should the actor be or appear to be older than the actress.
This would harmfully alter the inner proportions of the play. Ideally, the per-
formers ought to look like twins and be about thirty years old.
The play is most like a ballet.
Only four props are needed: a red muslin scarf, which ought to be hidden
in the cuff of the actresss pants; a collapsible trick knife, hidden in the cuff of
the actors pants; and two life-size puppets, fashioned to be the image of the
actor and the actress and dressed like them, placed inside the closed coffins.
No musical accompaniment of any sort, no musical background or outside
noise may be used.
There is no curtain.
for a very long time perfect silence and motionlessness rule the stage; of course, the dura-
tion of this silence ought to be adjusted to the patience of the audience, but it should last
way past their patience-threshold and then actor and actress appear simultaneously,
the former from behind the masking at upstage left, the latter from the one at upstage
right; they are both pretty loose, graceful, attractive, relaxed, self-confident, and quiet;
they stop, look at each other, rather notice and size each other up from head to toe, and
then both appear to be waiting for the other to start, to initiate something, if only a small
movement, but neither of them moves
very long silence
simultaneously, they break into a quiet laugh
then, also simultaneously, they begin to walk around to inspect the stage
they do this very slowly, thoroughly, and completely independently of each other;
although there is a great deal of similarity in their movements and gestures, the impres-
sion is that each is getting familiar with his or her own acting area
they are looking at something familiar ad nauseam, so they are not affecting seri-
ousness, yet it is terribly important for them that everything should be just right, every-
thing ought to be in its place
they take a look at the air, the lights, touch the walls, peer into the darkness, pass
fingers over the floor; in a word, they take possession of the space
please note: not even by accident will the performers look at the audience
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at center stage they pass each other, come downstage
actor bends down, touches the edge of the step; actress steps on and off the step
several times, testing it
COMMON KNOWLEDGE
now they walk about the area below the step but seem to take no notice of the coffins
having come all the way downstage actress balances across the edge of the stage,
her arms out like a tightrope walkers; actor watches her for a while then moves over
to the coffin on the left, touches it, feels it; at its head he stops hesitantly
actress looks up, uncertain, lowers her arms; slowly she walks over to the coffin
on the right, walks around, it, touches it, feels it all over, and then just about simulta-
neously they lift the lids of the coffins
please note: audience must not see whats in the coffins
silence
they look at each other, they look into the coffins
actress: Youre in it too?
silence
actor: You too?
silence
slowly they lower the coffin lids, look at each other; do not move
actress: Surprise.
actor: A trap.
silence
they look at each other, do not move
actress: Well pretend we didnt see anything.

actor: Deceive ourselves but good.
long silence
they look at each other, do not move
actress: Lets get away from here.
silence
actor: Lets go back.
very long silence

they both touch their respective coffins
actress: Nobody can step off that step. That should be the first rule.
actor: All right.
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silence
they both start backing away; get up on the step backward, keep going backward to
the middle of the stage while alternately looking at each other and the coffins
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very long silence
they stop

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actress: It was just left here.
actor: Yes.
silence
actress: Lets get out of here.

actor: Where to?
silence
actress: Im going to forget it.

actor: You cant.
very long silence

they stand, awkwardly, rather far apart and look at each other so they wont have
to look at the coffins
actress: No big deal.

actor: No big deal.
very long silence

they are looking at each other, deeply, perhaps a bit too persistently, but at the same
time observing objectively what, after all, will be the object of their play
actress: What are we going to play today?
silence
actor: What are we going to play today?
long silence
actress: Why are you imitating me?

actor: Why are you imitating me?
very long silence
actress: You know what kind of animals imitate people?

actor: I was just thinking about that.
actress: And still you havent answered the question.
actor: On purpose.
actress: I dont get it.
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actor: Why are you asking me that?
actress: I thought youd know.
actor: I thought you knew.
COMMON KNOWLEDGE
silence
actress: I dont know.

actor: I dont either.
actress: So whats going to happen then?
actor: When?
actress: Thats also a question.
actor: Youre asking questions because youre desperate.
actress: Im scared.
actor: But why should I be the one to know, when I really dont know?
actress: I dont know, either.
long silence; theyre motionless
actor: Why are you asking me?

actress: Because I dont know. Simple as that.
actor: But you know that I dont know either.
actress: I know.
actor: Thats just the kind of thing I dont want.
actress: Forgive me.
silence
actor: But now it feels like I just beat you at something.
silence
actor: I wouldnt want any kind of arbitrariness, either.
silence
actress: Then lets just be quiet.
silence
actor: I dont want to do anything as if. As if there was an as if.

actress: Lets look at each other. Thats nice and easy.
actor: No pretending of any sort.
actress: At worst, well play nothing else but this.
actor: Fine.
actress: That cant get us into any big trouble.
actor: Thats just it! Im afraid there will be no trouble at all.
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very long silence
they are looking at each other but with a certain lack of attention because every-
thing is still undecided, uncertain, and because of this they dont seem to know what to do
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with their hands and feet and, in the end, even with their faces
without moving from their places they begin experimenting with certain changes

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of position, but seeing the others clumsy and awkward movements they begin to feel their
own clumsiness and awkwardness, and theyre becoming increasingly dissatisfied
actor: But what are we supposed to do with our hands?

actress: With me its mostly my feet that are kind of superfluous.
silence
actor: Youre in trouble, arent you?

actress: And so are you.
silence
actor: Its like your hand got longer and you feel youve got to do something
with it. And its as if your head werent quite in the right place.
actress: If we knew what we were supposed to play, all our problems would be
solved.
actor: Or at least if there was a pocket in this, so you could put your hands in it.
actress: No pockets.
actor: Nothing.
actress: So were just standing here like idiots.
actor: Maybe thats what were supposed to play.
actress: What?
actor: Again the question.
actress: I dont understand why my questions irritate you so much.
actor: Let me remind you that weve already played this particular bit before.
silence
actress: Why dont we try something with those coffins. Lets say we bring them
here, sit on them and casually, leisurely we start chatting about something. That
at least would give our hands and feet something to do.
silence
actress: When one speaks, movement comes automatically.

actor: I think those are here for a different purpose.
actress: Like left here by accident from yesterdays play.
actor: Dont try to fool yourself.
actress: What was on last night?
actor: Nice try.
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long silence
motionless and stiffening up more and more, they continue to stand on the same
spot
COMMON KNOWLEDGE
actress: Or maybe the problem is that we are talking all the time.
actor: Now Im really confused.
actress: We got used to ceaseless talking as a means to making something hap-
pen.
actor: Then please be quiet for a while.
very long silence

stiffening into their own silence they continue to listen
actress: I dont think Ill ever be able to move from this spot. Thats how I feel
now.
very long silence
actress: Thats very unpleasant in such a huge space as this. If only there were
some large columns.
very long silence
actor: If only there were some rules, and we had to observe them strictly.
actress: Ive dreamt about something like this lots of times, but never believed
it could really happen to me.
actor: But it looks like there are no rules.
actress: That Id be standing on the stage yes, without a stitch of clothes, I am
stark naked, and I forgot all my lines and my feet took root in the boards. The
boards were completely bare.
actor: This way, however, we are completely free.
actress: It was just like in school, when you dont know the answer.
actor: Weve got nothing.
silence
actress: We are free?

actor: Yes.
actress: Thats just a word. Doesnt mean anything.
actor: Yes. Only a word.
actress: Thats why we have these clothes. Theyre more tangible.
actor: We can do anything we want.
actress: And our bodies are here, too, under the clothes. Weve got eyes, flesh,
mouths, stomachs, arms, legs. Weve got our hair.
actor: So maybe thats the only ground rule.
actress: Our bodies are alive, everythings functioning just fine, this we mustnt
225
forget. And I also have a red scarf, muslin, and youve got a collapsible trick knife;
we have these things even if we have to hide them from each other.
actor: That we ought to be here.
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actress: These are the surprises. And we can also talk.
actor: Cause, after all, that much should be enough for a show.

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silence
actress: Maybe too much, even.
silence
actress: But now I am completely stiff, I think.

actor: Thats why I said we were free. In the end, that should be enough.
actress: If theres no reason to move from here, then whats the point of talk-
ing about anything?
actor: Weve got nothing, but with that we can do anything we please.
actress: Itd be nice if you could do something with me.
actor: One must always think over well ones situation.
actress: Please call me over to you.
actor: Im completely stiff too.
actress: We should make our presence here more natural.
actor: Lets loosen up.
actress: How?
actor: Lets breathe.
silence
they are standing motionless, facing each other; nothing is happening
then very slowly actor inhales
actress too inhales very slowly
theyre standing still, holding their breath
actor slowly exhales
actress also exhales slowly
actor sits down, gets into lotus position, very slowly inhales
actress also sits down the same way, inhales very slowly
silence
both are sitting while holding their breath
actor very slowly exhales
actress too very slowly exhales
actor lies on his back, inhales very slowly
actress also lies on her back, very slowly inhales
silence
both are lying down while holding their breath
226
actress very slowly exhales
actor also exhales very slowly
they stay like that
COMMON KNOWLEDGE
silence
actor sits up very slowly, then very slowly stands up
actress sits then stands up the same way
actor slowly and in the widest possible circle begins to run around the stage
actress also begins to run but in the opposite direction
they keep running
they are running faster and faster, sometimes they stop to jump up, spin around,
change direction, but always continue in opposite directions; they touch hands, body
brushes against body; they run, collide, continue to run, and when they can run no faster,
they gradually slow their pace
theyre running at a slow, even tempo, as if this running would never end; and
then the running becomes very slow, dreamlike, until they wind up at their original place
where, almost unnoticed, they stop, far away from each other
theyre panting
very long silence
actor: Here we are.
very long silence
actress: Were alive.
very long silence
actor: Lets catch our breath.
very long silence
actress: Problem is, a person by himself or herself isnt worth anything.
silence
actor: This was only the warm-up.

actress: We dont really have much to do with each other.
actor: Were here.
actress: Nothings changed.
actor: Thats already something.
actress: Youre far away.
actor: Rushing things is not a good idea.
actress: Call me over to you.
actor: I cant feel it yet.
actress: Call me over.
227
actor: Nothings happened yet.
actor: I can barely see you.
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actor: Im catching my breath.

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actor: Cant you understand that I dont feel anything?
actress: So call me over to you.
actor: I dont want to.
actor: Come on then.
actress starts toward actor but after a few pathetically uncertain steps she stops short
theyre looking at each other
actress, with her torso, turns away from actor and covers her face with her
arms as if she were being beaten
very long silence
actor: Whats up?
silence; actress does not move
actor: Why dont you answer?
actor: I told you to come over.
actor: Well do it slowly, gradually.
actor: Ill take a step toward you and you take one toward me.

actor takes the first step
actor: Ill reach out my hand toward you and you reach out toward me.
silence; actor reaches out, actress does not move
actor: Were helping each other.
actor: Its all right, you can come over. Go ahead!

228
actor: But first take your hands away from your face.
COMMON KNOWLEDGE
actress: I wont.
actor: It bothers me.
actress: I cant.
actor: What cant you?
actress: And you know very well why.
actor: No, I dont.
actress: Yes, you do.
silence; actress does not move; actor takes a few uncertain steps toward her, then just
as uncertainly stops
actor: There was no other way I could call you over.

actress: See, you do know.
actor: Id like always to say what I feel, only that. But that very precisely.
actress: You feel that very precisely.
actor: Dont expect any more than that.
actress: Thats quite enough.
actor: Then put your arms down.
actress: Not yet, I cant.
actor: Well, itll be a lousy play like this.

actress: Im enjoying it.
actor: Pretty boring, if you asked me.
actress: The more boring the better.
very long silence
actor: Im asking you for the last time.

with deliberate steps actor starts toward actress, then turns on his heels and
walks all the way upstage; with his back to audience he stops at the upstage wall
actor: Let me know when youre ready.
very long silence
actor: I wont turn around until you are.
actor: Ready?
229
actor: Arent you ashamed of yourself?
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actor: I dont think Ive hurt you so much as to deserve this.
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actor: Can I turn around?
actor: You could answer me.
very long silence

then actor turns around, comes downstage, walks up to actress and with both
hands pulls her arms down; not too roughly, but firmly; actress lets him; they remain
like this, looking at each other, with actor holding actresss wrists and it is as if now,
for the first time, they were really seeing each other
actress: Something has happened, after all.
silence
actor: Your voice. Its forced. Mine too. As if we were regurgitating some mem-
orized text.
silence
actress: Weve been doing it pretty well.
silence
actor: Actually, Ive got no complaints either.
silence
actress: Let go of my hand.
silence
actor: But the timbre of our voices still betrays us. This is not you, this is not
me.
silence
actress: Im asking you, let go of my hand.

actor: Im telling you, I wont.
actress: Im telling you, you will.
230
actor: Since Ive got it, I wont.
actress: Youre common, coarse.
actor: Not coarse enough yet.
COMMON KNOWLEDGE
actress: This is too fast for me.

actor: Well slow down later.
actress: Let go.
actor: No.
actress: Let go.
actor: No.
actress: What dyou want?
actor: Nothing.
actress: I can see you.
actor: Im no idiot.
silence
actress: Then Ill close my eyes.

actor: Itd be better to adjust your voice to your self.
actress: Take me in your arms.
actor: And take deep breaths.
actress: Kiss me.
silence
actor: Deeper, and longer.
silence
actor: Now we slow down.

actress: Why?
actor: I have to think.
actress: Now? Why?
actor: Im getting ahead of myself.
actress: Shall I undress?
actor: Wait not yet.
actress: Just wanted to help.
actor: Thats not possible.
actress: Whats not possible? Everythings possible.
actor slowly lets go of actresss hand and looks at her as she is standing, rather stiffly,
with her eyes closed, and then he takes a few steps away from her
he is watching her objectively, as if she were some strange spectacle
he sits down, cross-legged
long silence
actress remains in the same pose
231
actor: I can console myself, or you, or both of us, only with the fact that its not
bad at all; that weve been doing pretty well. Thats what I console myself with.
Weve been doing pretty well.
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actress: We could have made it a little more intense.
actor: Stay like that.

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actress: Do I look all right like this?
actor: May I say something?
actress: As you wish.
actor: Well, I did get sad. I dont know why. Very sad, if I may say so, and tired.
actress: Should I stay like this?
actor: As you wish.
actress: I must look like a parody, a caricature. And I wasnt really completely
phony. Maybe my voice. Yes, my voice. But yours, too. May I say something?
actor: Please do.
actress: There was this one moment when I really felt something. Not much,
thats true, and its very difficult to separate it from the rest, because the false is
also true, but there was a second like that, a fraction of a second. What I felt was
a feeling for you.
silence
actress is still standing in her former pose: motionless and with her eyes closed
actress: Arent you going to ask me?

actor: Which moment?
actress: Id be glad to answer.
actor: Just dont be afraid.
actress: When I knew it, I told you youd let go of my hands, and at the same
time there seems to have been a flash of dont-let-go! also, and that could have
been also true.
actor: I see; a flash, was it? There was a flash. Very peculiar.
actress: All right, Ill stop here.
actor: Fine.
actress opens her eyes, her body relaxes, and she does a few movements reminiscent of
gym exercises
actress: I admit, my voice does sound false. No matter how much I try, it doesnt
come more naturally than that. But yours, too.
actor: I know.
actress: Lets talk more simply.
actor: All right.
silence
232
actress: May I sit next to you?
actor: Come on.
COMMON KNOWLEDGE
silence
actress: Thank you.
actress goes slowly up to actor, kneels before him and kisses his forehead
actor: Youre welcome.

actress: Fooling around wont do.
actor: Im not fooling around.
actress: Thats all I wanted. Just this.
actor: Then youve got it.
actress sits down next to actor, their shoulders almost touch

very long silence
then the actor begins to make quiet, hissing sounds, and the actress responds in kind;
from then on, without moving from their places, they produce the most varied sounds that
seem to be responding to one another; the volume is increasing and the sounds grow less
and less friendly, until they reach a crescendo of inarticulate screaming; from there the
volume slowly falls, the sounds blending more and more into themselves and one another,
becoming quieter and increasingly more intimate, stretching all the way into silence which
is reached only after several detours and delays
very long silence
actress: Are you satisfied?

actor: Better than saying some text, anyway.
very long silence
actress: For some reason its become important to me that you be satisfied with
me. More precisely, it was important. Important.
actor: I didnt ask for that.
actress: I know.
actor: But I wouldnt want to refuse it. If its important, let it be.
actress: I know.
very long silence
actress: Lets look into the darkness.

actor: Cant do anything else anyway.
silence
actress: Or lets imagine that the sky tonight is full of stars.

actor: Too bad its raining so hard.
233
silence
actress: And theres such a nasty wind. Im cold.
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actor: In this sunshine?
silence

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actress: Its snowing. Everythings white. The snow has softly blanketed every-
thing. White. Cant you see? White.
actor: Yes, sometimes everything happens just right.
silence
actress: Why dont you want me to make something up?

actor: And afterward theres nothing again.
silence
actress: You dont like that we are sitting here, next to each other?
actor: I do. Cant you feel it?
actress: Then why dont you let me make something up?
actor: You can make up anything you want.
actress: What Id like is a nice little story.
actor: About what?
actress: About you. About us.
actor: You dont like that we are sitting here, next to each other?
actress: Cant you feel it?
actor: Thats enough for me.
silence
actress: Then how are we going to get up from here?

actor: A mystery.
actress: If you keep spoiling the mood we wont be able to get up from here.
actor: Thats possible.
silence
actor: I wasnt the one who spoiled it.
silence
actor: I wouldnt want us to start blaming each other.
silence
actor: Of course, maybe thats not possible either.
silence
234
actor: Are you paying attention?
actress: Im doing nothing else; I keep paying attention to you.
actor: Cant you feel it?
COMMON KNOWLEDGE
actress: Im getting fed up a little with all this fussing about.

actor: As a matter of fact I know how weve spoiled it. Cant you feel it?
actress: And Im getting more and more scared. I feel that, too. Slowly but
surely I can feel nothing else but that.
actor: Thats exactly what Ive been thinking about.
actress: And in the meantime you pretend not to notice anything. I dont want
to blame anything on you, but you act as if I did. As if you didnt care that they
are watching us. You understand? Watching. They are watching us. And you pre-
tend that we are not here for them to watch us. You act as if you could do what-
ever you please. As if we were free. While thats exactly what youve wanted to
avoid. And you still act as if there was an as if. You and your stupid freedom!
actor: But thats exactly what Ive been thinking about. Thats what Id like
somehow to express.
actress: But who can see what youre thinking about when you act like you feel
so good, so calm, in this big empty silence, or whatever this whole thing is; well,
what is it? Like this was the most natural thing for you to do. Like there was
nothing more natural than that the two of us cant do anything. That I cant even
move from this place.
actor: And what about your fear, who can see that?
actress: Ill show you.
actor: Id really like to see it.
actress jumps up, grasps her chest as if wanting to tear fear itself out of her chest; she
opens her mouth as if to yell, but no sounds come; she howls silently while pounding at her
chest, yanking at her shirt, then suddenly she stops
quietly, starting from deep down, she starts shrieking, gradually increasing the
volume, but before reaching the top she suddenly leaves off
silence
actress: I cant.
actor: But it was a splendid start.
very long silence
actress: Youre very clever, very.

actor: And why must we be doing something for them to watch us?
actress: Youre very clever.
actor: They could be watching how we arent doing anything, couldnt they?
actress: You are very, very clever.
actor: I think thats just as interesting.
235
actress: Because this will be the end of me. Understand? I cant bear it. Thats
why.
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very long silence
actress remains in her former position, actor slowly stands up

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actor: We blew it. Thats all.
silence
actor starts for the masking upstage left where he had first appeared
actress: At least I gave it a try.
halfway upstage the actor stops and turns around
actor: Why cant we admit it?
silence
actor: Lets start all over again.

actress: Nothing can be started all over again.
actor: Then lets act as if we were starting again.
very long silence

slowly the actress starts for the masking at upstage right where she had first
appeared, but before reaching it she pulls up short
simultaneously, they break into a quiet laugh
actress: As if.
actor: As if.
silence
actress: But then lets change places.
they change places; actor stands by upstage right masking, actress by the one upstage
left
actress: So it shouldnt be exactly the same.
both take a step backward; the stage is empty

very long silence
actor: Ready?
actress: Let her roll.
very long silence

the stage remains empty
236
actress: Im sorry. Im scared. Im very scared.
actor: Pay attention! We must step out together.
COMMON KNOWLEDGE
very long silence

actor: Breathe, take a few deep breaths.

actress: Youre crazy. Obsessed with breathing.
very long silence

actress: Arent you afraid?

actor: Id say Im shaking.
very long silence

actress: Then take a few deep breaths.

actor: Idiot.
very long silence

then, simultaneously, they step out from behind the masking, stop, look at each
other, then start walking again
they pass each other by, actress is headed for the masking on the right, actor for
the one on the left, and before disappearing they look back carefully
silence
they appear again, stop
look at each other, start toward each other, at the middle of the stage they stop
uncertainly, facing each other
they both hesitate, neither dares to start, then both move on, but instead of disap-
pearing behind the masking they look back at each other; then, along the walls they come
downstage, all the way to the step and then face each other and stop
they hesitate
suddenly both start, heading toward each other
they meet at down center, stop, now they hesitate a bit longer than before, but then,
crossing each other, they continue to walk, sideways along the walls, and disappear behind
the masking
long silence
they re-appear, stop, look at each other, start for each other, in the middle of the
stage they stop uncertainly, facing each other
actor: Pardon me, madam.

actress: Whatever for?
actor: For making you stop.
actress: Oh, I meant to stop anyway.
237
actor: For addressing you.
actress: What else could you do?
actor: Are you that self-confident?
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actress: Yes. Completely confident.
actor: Are you also headed this way?

N da s
actress: Youll be surprised, sir, but yes, exactly this way.
actor: But you did start in the opposite direction.
actress: I am a bit capricious.
actor: May I accompany you then?
actress: Id really like that.
starting at the center line, they start downstage, walking side by side
actor: Is this good for us?

actress: I hope so.
actor: Pardon my insistence, madam, but in that case we might say that youve
changed direction because of me.
actress: Yes.
actor: May I chalk this up as some sort of victory?
actress: Are you expecting some sort of confession from me?
they halt at the step, look at each other inquisitively, and during the following exchange
remain completely motionless
actor: You dont beat around the bush, madam.

actress: And that scares you.
actor: Somewhat, yes.
actress: I wonder why.
actor: We are only at the starting line.
actress: I want to know what to expect at the finish line.
actor: For that, madam, there is a nice phrase, as you well know: I want to sweep
you off your feet.
actress: You already have.
actor: Would you mind telling me how Ive managed to do that?
actress: How? By doing nothing. Just by showing up.
actor: But anybody could have shown up.
actress: Youre mistrustful, arent you?
actor: Only to make my victory more enjoyable.
actress: I dont understand, what victory are you talking about?
actor: Im sorry you cant feel it.
actress: Feel what?
actor: I feel it so much, Im about to burst. Its something one feels in ones chest,
belly, thighs, everywhere.
actress: I see. Very interesting.
238
actor: And you flirt so nicely.
actress: Wait, let me search among my feelings. Yes, I do feel all sorts of things.
Thats true.
COMMON KNOWLEDGE
actor: And you are laughing at me.

actress: If you want me to.
actor: No, never mind. I just thought you were laughing at me for feeling that
way.
actress: On the contrary, youve made me curious; to know what it is Im unable
to feel.
actor: Then you are waiting for some confession.
actress: Maybe I am. I cant be sure.
actor: Why so sad suddenly?
actress: Arent we going to sit down here?
actor: We could.
not too close to each other they sit down on the step
very long silence
actress: What an incredible silence.

actor: Sometimes you can hear little coughs.
actress: Dont stop now.
actor: Keeping busy with your own words should be enough.
actress: Im choosing them carefully.
actor: Maybe you cant hear them?
actress: Im not deaf.
silence
actor: Why dont you answer, madam?

actress: Whats the question?
actor: Why so sad suddenly?
actress: Because I know our good cheer was in vain.
actor: Dont spoil it yet, please.
actress: The whole thing is so senseless. No good. Empty.
actor: But feeling like that can also make sense.
actress: No, thats empty, too. Rings hollow. Everythings empty. I cant talk
about it.
silence
actor: Then you must have somebody, madam.

actress: I do.
actor: And you love him?
actress: I believe so.
239
actor: That promises some hope.
actress: Hopeless.
actor: I should put up a fight then.
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actress: You cant, sir. You cannot fight me.
actor: How stupid Ive been.

N da s
actress: You only wish you were.
actor: To think you have nobody.
actress: I dont believe you are lonely, sir.
actor: But I am.
actress: Then show your real self at last.
silence
actor: What are you saying?

actress: Why are you lying? Why this constant lying, to yourself and to me?
actor: What are you talking about?
actress: I think by now it could be perfectly natural.
actor: It can be avoided.
actress: Youre making yourself ridiculous. And me, too.
actor: I dont want to offend you.
actress: All right, lets stop the whole thing.
actor: Good idea.
very long silence
actress: You think Ive spoiled it?

actor: Right now Im not thinking about anything.
actress: Ive hurt you.
actor: You cant hurt me.
actress: So, I dont mean anything to you any more.
actor: Of course you do.
actress: You think were not supposed to mix ourselves into it?
actor: Why are you asking me?
actress: Because youre resisting.
actor: Youre pretty sly, you know, and to a certain extent that hurts my so-called
moral sensitivity; but if I werent personally involved Id say your behavior
hasnt been without some interest.
actress: Weve brought our own bodies here.
actor: Theyre pretty well trained for the purpose.
actress: Were talking about ourselves, no matter how much we try not to.
actor: That, too, has its limits.
actress: Now theres no text. And theres no set. Just this prison garb.
actor: Thats what weve got, thats what weve got to play.
240
actress: I cant feel the rules.
actor: We have to create them ourselves.
actress: You see, all were talking about is ourselves; youre defending yourself,
COMMON KNOWLEDGE
and Im attacking.
actor: And thats just about enough of that.
very long silence
actress: Thats what you say.
very long silence
actress: I think it could be very nice if it wasnt ourselves we had to restrain.
silence
actress: Even if we didnt have any special feelings for each other.
silence
actress: But we do; so there.
silence
actress: Take me, for example; now Im completely empty. Feel relaxed, light;
all my fears have evaporated. Are you still scared?
silence
actress: I might say Im superfluous even for myself. Of no interest at all. Maybe
there have been too many fiascos, but it seems even that has some advantages.
Every movement is a failure, every sound. Im just sitting here now, feeling how
you are becoming more and more tense, and whatever is leaving me is now enter-
ing you, and Im like some large rusty pot tossed aside. Thats a fiasco too, but
at least I have the strength to admit it. Like a barrel. I dont care. You can pour
anything into it, it will leak out anyway, or you can just leave it empty, because
its already empty, it doesnt matter. And I couldnt care less. I couldnt care less
about anything. And if we had reached this point, if by the grace of unfathomable
fate I am allowed to feel this empty and superfluous, then what could possibly
prevent me from doing anything at all? And its no use looking for rules, I am the
rules and so are you, and so is my body and your body, and your clothes, as they
cover your body, and my clothes, as they cover mine, and my voice, as it still man-
ages to issue forth, plain and crystal clear we have found its range, havent we!
and the silence with which you are trying to respond, to signal your fear, at
least to do that! And why would it be impossible to talk about that, for exam-
ple? Why should I keep quiet about the very thing thats most important to me?
Thats right, dont be afraid, something irrevocable is about to happen, and it
241
doesnt matter that youre afraid, because why shouldnt I be able to make a rule
right now that allows me talk about how much I love you, and why shouldnt you
be able to accept that rule?
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silence

in the following, actress will turn very slowly toward actor, very slowly pull
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her legs under herself and while continuing to talk unstoppably she will almost imper-
ceptibly get into a kneeling position, and then with a mercilessly determined slowness,
crawling on her knees, she will approach actor: while the latter remains motionless
throughout and keeps staring in front of himself
actress: There; now Ive said it.
silence
actress: Do I need to say anything else?
silence
actress: But why is it so hard to say it again if I wanted to say it again? I want
to say it lots of times. Because now I feel that I am afraid, after all. I dont know
who Im afraid of, not you, or what I could be afraid of? Or what is this fear, any-
way, because, after all, what could possibly happen? At the very worst that you
dont love me, I know, then youd very nicely tell me: look, I dont love you, Im
sorry but I dont love you, (screaming) yunderstand? I dont love you! (quietly) and
then Ill be left alone with that, (screaming) I love you! yunderstand? (quietly) but
of course Ive been alone all this time and that made no difference either. And
still, I am shuddering at the thought, and glad that it cant be noticed much,
though my whole being is shuddering because I do want to say it out loud, that
no, you did not misunderstand me, you heard right, and I want you to hear it,
thats why I want to say it again so youd hear it, so youd hear it all the time, keep
hearing it until you go deaf, that I do love you very much. Dumb words. Like
this: I love you, it sounds completely dumb. But I say it this way: I love you. I love
everything about you, and I love everything in you. I love you terribly, madly,
awfully, hopelessly, painfully, I love you secretly. And dont try to understand it.
And dont protest because I dont understand it either, and you dont have to say
anything. Your silence is good enough. I dont know what to do with it. You cant
help it. I cant vomit it out. If you did not exist, it wouldnt exist. Id have to vomit
out my skin, my flesh, my heart, my nails. I seriously imagined myself coming
out through my own mouth. But maybe that wouldnt be enough, either. But I
also love suffering though I couldnt imagine that one person could have con-
tained so much sufferingbecause thats the only thing I can get from you com-
pletely. These too are only words. Should I tell you how I suffer? You used to
be interested in everything. I constantly wait for you, every second. For you to
242
appear suddenly. To be there for me. Because you are in every one of my
moments. And because of that I wait for you even when you get here. Even now,
I am waiting for you now; and if you leave, Ill wait for your return. And as you
COMMON KNOWLEDGE
sit there like that I am waiting for you to make a move, a single tiny little move-
ment. And thats so good. But if you dont do anything, thats good too. Because
then at least I know you couldnt spoil what we have in that moment. But even
if you spoil it, that can only be good because then I suffer even more. Sometimes
I think its not possible to suffer more, but it is. I know Im not saying this right,
its hard. I wait for you. Everythings good. Thats how simple a thing my suf-
fering is. Everythings very good. Very, very good. Ive learned how to pray. Its
good. Thats good, too. Your wickedness, your stupidity, your ugliness, I love
them too, Ive learned to do that, too, and its also good because it helps me feel
and see even more how beautiful you are; youre not beautiful, yet I havent seen
anything more beautiful; how clever, how good you are, how dear to me and how
nice. Love you. Can you understand that? You couldnt possibly because Im talk-
ing about you. Your mouth stank. When you told me to breathe deep. I couldnt
breathe it in any deeper. Its you Im talking about constantly. And there are
things that are disgusting even when you love, like I love you, but I love even that;
this disgust made me love you more because I could feel your stomach, your own
stomach where that smell came from. I got into you through my own disgust.
Into your stomach where some food is not being digested properly. What did you
eat? Now I am in there, too. Sometimes I think I was the one who gave you birth.
If I could see you taking a shit Id love that too. Id love to have God switch us
around, put you in my place and me in yours. Because nothing can help me learn
you properly.
very slowly actor gets up and very slowly starts backing away, moving upstage
the actress follows him on her knees; but we must be careful! there is no self-
abasement in this! on the contrary, this is how shell grow erect, tall, and proud
actress: Id like my body, this necessary mass of flesh, bones, skin and hair,
everything that I am, to become, just for a very short time, your smell. The smell
of your stomach, your mouth, your armpits, your crotch, the smell of your feet.
Thats how much I love you. Id like it if for a little while, not for long, just for
a very very brief instance, I could turn into a movement, a mere gesture of yours;
Im not asking for much, if only I could be as much a part of you as is that hand
now touching your forehead.
actor is indeed touching his forehead, then covers his face with his hands, bends over and
thus continues to back away, moving upstage
actress: Thats all, nothing else. Thats how I love you. Or, Id like to be your
member as it slowly rises and stiffens between my fingers and then penetrates
243
deep inside me; for a moment, for one single moment not to be me, the one who
feels it, for that is not enough. If only I could be you, too. Thats how I love you.
Bur ia l
actor is backing toward the upstage left corner of the stage; actress, crawling on her
knees, is following him

N da s
actress: Its him I love, yes. Tenderly, fervently, curiously, I love him; and I also
enjoy making fun of him, like one would laugh if the frog held by an unsuspect-
ing palm suddenly turned into a proud stallion; and Id like to gallop around
inside you; not for too long, just until Id reach the other side of a huge meadow.
And there, a big body of water would be waiting. And quietly wed swim away on
the big water. Thats how I love you. Or if only I could be one of your little mem-
ories, popping into your mind unexpectedly; like I could be your mothers breast,
which you did see once, by accident, and then I could disappear without a trace.
I could sink back along with you into the darkness where nothing must be
touched anymore. If it were possible, Id love to love you like that; and though
it is impossible, I still love you like that.
actor: This should do for starters.
actress: Oh, I havent even begun. I havent been able to tell you anything. I
havent been able to tell you how much I love you. Now Ill start looking for the
right words. And I shall find the most impossible words. Love you. Because I love
your hair, I love your naked shoulders, I love the strength in your arms when you
squeeze me, I love the color of your skin, and I still havent said anything, because
I love your belly, your thighs, the nail on your little toe, the traces your wet feet
leave on the stones, and the fingerprints that identify you, I love the beating of
your heart, your huffing and puffing, the moist sockets in which you roll your
eyes, and I will list every tiny part of you so that you know, hear, see, and feel how
I take account of each, continually, one after the other, whenever I think about
and I do, constantlyhow much I love you; and Id like to know why I have been
singled out to love you so much? and who is this chosen person? and why is this
a punishment? and what was my offense? and like some cold and stern inspector,
Ill try to determine which one of your parts has driven me so mad, because of
course I do know Im mad, plain crazy, and the whole thing is just a game, and
this too is superfluous and will pass eventually, only it doesnt, and I continue to
search, to rummage inside you, make an inventory of you, take apart and
reassemble everything, while I feel, have the feeling that maybe I dont even love
you if I am capable of doing this to you, cutting you up into pieces, but this is
merely a desperate struggle inside me, because what do I care about what you are
like, what do I care how you wear out your shoes, I love you the way you are,
exactly the way you are, and I dont care about anything else. Thats how I love
you. I see you clearly. No human has ever seen another as clearly as I see you
standing before me. And if you could see this picture even for a second youd die
244
of the pain caused by the pleasure of seeing and feeling. And Ive got nothing else
in this world. I will kill you. I will keep telling your story until I destroy you.
COMMON KNOWLEDGE
having reached, the upstage left corner, and now more or less stuck in, actor is forced
to stop; actress is kneeling right before him
actress: You did put your hand on my hip, dont forget that. You do feel how I
love you, you do, no matter how much youd like to forget, and you cannot deny
me. Your hand on my hip, after all. But then you didnt want me, remember that.
As if it were too much for you that now you really want me. Do not forget that.
As if you wanted to conquer your true desire. To forget it. And you turned away,
turned over, like someone ready to go to sleep. Remember that. Just remember
that, too. Remember that you snuggled into my arms. I remember everything.
There isnt, there cant be anything I could remember so vividly. My hip still feels
the warmth of your palm, its weight. The skin can feel it, the bones. I dont know
what exactly but everything feels it. Its almost as if the palm were still there. And
this cant be a memory while you are here. Dont you remember it? Do remem-
ber, please. That moment when finally you really wanted me and though you
denied yourself to me, you still became mine, mine! mine! if only this moment,
as your palm caresses my hip, clings to it, if you could understand, accept that
moment, if you could feel what I feel then, if only for the duration of this pass-
ing movement I could be you, so that I would be the one to remember the heat
of your body in the heat of mine, then you wouldnt be able not to love me any-
more because youd know how much I love you, and that could no longer be for-
gotten. Thats how I love you.
suddenly actor turns toward the wall, and with arms folded above his head presses his
face against the wall
actress: Love is nothing but remembrance.

actor: I dont remember. Theres nothing to remember. Youre wasting your
time.
actress: How could you remember anything, you were asleep. Of course, you
were asleep.
actor: Enough already.
actress: I was holding you in my arms, with your back against my breasts, and
for some reason, I dont know why, I was a little abashed that your back could feel
my breasts so directly, so roughly, so shamelessly.
actor: Im telling you!
actress: And our legs were so mixed up I didnt know which was yours and which
was mine, and I kept getting startled by feeling myself falling off to sleep, but I
didnt want to sleep because then I would have felt only myself as the two of us
got all mixed up inside me thats all I would have felt; but I wanted to feel you,
245
only you; even though you tried to deny yourself to me, I still held you in my
arms, I wanted to feel my mouth on your neck, the taste of your skin in my
mouth; I didnt want to fall asleep, I wanted to keep my mouth awake on your
Bur ia l
neck. Thats how I love you.
actor: I was asleep.

N da s
actress: I know.
actor: I didnt feel anything.
actress: I know.
actor: And I wont, either.
actress: I know.
actor: There are things that cannot be played with.
actress: I know.
actor: Then what else do you want?
actress: I want to tell you how much I love you.
actor: If I wont reciprocate, then, after a while youll become impossible any-
way.
suddenly actress wraps her arms around actors legs
actress: I know.
actor: Ive made you look ridiculous.
actress: I know.
actor: Let go of my legs.
actress: I know, I know.
actor: Id like to move from here.
actress: I know.
actor: The reason Ive kept quiet till now is to make you even more ridiculous.
actress: I know.
actor: So youd admit there is no story like this, and never was, either.
actress: I know.
actor: And there isnt any hope.
actress: I know.
actor: You worked your trap for quite a long time, but not one of your words
said anything about me.
actress: I know.
actor: As if you were talking about a pound of beef.
actress: I know.
actor: Now you can really reveal who youre in love with so much.
actress: With you.
actor: Id like you to let go of me.
actress: I know.
actor: You keep clinging, instead of admitting that youve failed.
246
actress: I know.
actor: This wont work either.
actress: I know.
COMMON KNOWLEDGE
actor: But this will work.

actress: I know.
actor: Ill have to use force if you dont let go of me.
actress: I know.
actor: Thats what you want to provoke, isnt it?
actress: Id like to give birth to your child. Id raise you in my belly. Our blood
would circulate in a single system. Id nourish you from my own flesh. I wouldnt
have a single cell that wouldnt be yours. Id bring you into this world. Id give
you milk. I could be your child. If you gave me ten minutes of your night. Just
once more.
actor: There is no night.
actress: I know.
actor: There is no child, there is no milk. Were here.
actress: I know.
actor: You cant make a story out of that.
actress: I know.
actor: Then let go of my leg.
actress: I wont.
actor: Let go of my leg.
actress: I wont.
they start grappling

actress yanks actor off his feet, they are pummeling, tearing at each other on
the floor, but this fight is also a bit like lovemaking
actress: I knew it. (squeals) I know, I know. (screams) I knew it.
actor springs up, opens jack-knife in his hand; actress is lying on the floor
very long silence
actor: Youve hit me.

actress: Kill me, why dont you.
actor: Youve hit me.
actress: Im going to pray.
actor throws knife away in a wide arc; the knife should scoot over the stage so that slip-
ping off the step it stops somewhere in front of the coffin on the right
very long silence
actress slowly sits up, looks at the knife
actor remains motionless in the position from which he threw the knife
247
actor: Somethings off. No good. I dont know what, somethings no good. No
good.
actress: Did I hurt you a lot?
Bur ia l
actor: I dont know what, but somethings no good.
actress: I really didnt want to, but it was hard to sort things out. For a moment

N da s
I really hated you.
actor: There was a flash.
they laugh
actor: And that knife wasnt any good, either. When I threw it away, maybe that
was good. We shouldnt have had a knife.
actress: I really wanted to kill you, pretty strange feeling. Maybe thats why the
whole thing turned out so elaborate. Have you ever felt anything like that? I
never have.
actor: I was looking for the right moment, what would be the best moment to
pull it out, but maybe I judged wrong. It wasnt quite right. Maybe I rushed it.
actress: I did land a good one on you, didnt I?
actor: I dont think you had your heart in it completely, either.
actress: Smack in your mug.
actor: Maybe thats all it was.
actress: You scum.
actor: Be quiet. I dont like hearing things like that.
actress: I hate you. Thats so good. I hate you. Dont be angry with me, but I just
have to let it out somehow. Smack in the middle of your mug. Pow.
actor: And because of that I, excuse me, I started to love you.
actress: Whew, that was so good. Pow, right in the smacker. If you dont watch
out, youre going to fall for me, head over heels.
actor: No. I only got to loving you. You did it so beautifully.
actress: To hate is better than to love. You feel you could just ruin everything
around yourself.
actor: I also envied you a little.
actress: Set everything on fire. Tear out, break off, spoil. Grind to smithereens.
Come on, lets fight a little more. Come on, let me have one. Lay me out.
actor: Hate me some more and then Ill go at you.
actress: Trouble is I cant anymore. Its passing already. This is just some kind
of cooling off. The poor thing is passing. Now I can only remember how good
it felt.
actor: Too bad.
actress: Im sorry, too.
actor: Who do you love like that?
actress: You.
248
actor: Dont go on with that.
actress: But thats the only thing I can go on with.
actor: It should be my turn now.
COMMON KNOWLEDGE
actress: Well, come on then.

actor: But Ive got nothing in me that I could mobilize like that.
actress: Come on, help me up.
actor: I cant move from here. Were back to the same thing.
actress: A few steps, thats all it is.
actor: If only there was somebody else, a third person that, lets say, I could be
jealous of. A dark feeling.
actress: Lets imagine it.
actor: But I can imagine only what I see. And that doesnt have to be imagined
because its here. And here, Im sorry to say, theres nothing. Just you. If only, lets
say, if only you loved me. If only some of the things youve told me were really
true.
actress: But it is true. Nothing is truer than that.
actor: Or if I could be alone. Then Id be longing for something. That could be
a useful feeling too.
actor: I can see you.
actress: Close your eyes.
actor: I can open them anytime.
actress: Dont think about that. Dont think about anything.
actor: Lets start over.
actress: Theres nothing to start over.
actor: I can feel youre the stronger, because, no matter what, you can always
continue. Thats why I used to love you.
actress: Its simple. I dont think about anything.
actor: But now its passing. I can feel it passing, and Im afraid that when its
gone there will be nothing again.
silence
actor: Maybe the problem is that I can see. All the time I see the two of us, that
we exist.
silence
actor: And there is nothing else.
silence
actor: Blindfold me.

249
silence
actress slowly gets up, takes the red muslin scarf out of the cuff of her pants,
waves it about, runs twice around the stage with it, waving it like a flag, then stops
Bur ia l
behind actor and blindfolds him
they stay like that

N da s
long silence
actress: Is it good like this?
silence
actor: Yes.
silence
actor: Very good.
silence
actor: Oh yes, very good.
silence
actor: Im not thinking of anything.
silence
actor: At last.
silence
actor: True, thats also a thought.
silence
actor: Still, just now, there was a second when I wasnt thinking about anything.
silence
actor: This is also a thought, but Ill lose this too.
silence
actor: Dont go away.
silence
actor: Id like you to help me, somehow.
silence
actress tiptoes around the stage, looking for a place for herself, then, at center
250
stage, facing the audience, sits down on the step; wearily she lowers her head into her
lap and folds her arms over her head
COMMON KNOWLEDGE
actor: Where are you?
silence
actor: I feel youre here, but now youre playing at not being here.
silence
actor: Youre playing this game because you want me to look for you. Youre
thinking about me looking for you. Youre thinking that I should find you. Youre
probably right, that would be the only solution.
silence
actor: But thats also a thought. I think thats what youre thinking now. And
maybe youre not thinking about anything.
silence
actor: What are you thinking?
silence
actor: Pretty dark in here.
silence
actor: If I open my eyes under this scarf, I cant do it completely, even then I can
see only red. Blood.
silence
actor: It would have been nice if Id killed you. Then it would be all over by now.
silence
actor: Another solution could be to huff and puff all my thoughts out of myself.
Theyre not important, not even to me. And at last there would be no need to
talk about what is important.
silence
actor: Why dont you respond to anything I say?
silence
actor: Would you like me to look for you? Would you like me to love you?
silence
251
actor: No answer to that, either.
silence
Bur ia l
actor stretches out his hands, starts walking, then stops, hesitates
actor: But this is also just a thought, play-acting.

N da s
he starts again, gently feeling his way in the air and, as if he had found the right direc-
tion, heads straight for actress
actor: After all, we are actors, and now this is what we have to play.
feeling the air he walks on, stops
actor: A word, just one word.
he starts again, and just as he is about to reach the actress, she slips away
actor: I can feel you even if youre not saying anything.
actress is backing away, actor follows her blindly
actor: I can feel exactly where you are.
actress is forced to move ever faster, the actor is chasing her more vehemently, but just
when hed reach her, she hides, crouching down behind the coffin on the right
actor: I can feel it exactly.
actor reaches and touches wall above actresss head, continues to feel his way, now
somewhat obsessively, moving upstage, feeling the walls with his fingers
actor: I can feel nothing better than a body.
stops, growing uncertain
actor: How noiseless are your steps.
silence
actor: Maybe thats why Ive become an actor. I am an actor, after all.
starts walking again, feeling his way
actor: I speak a written text, I make prescribed movements. What Im acting

now is that I dont exist, while of course I do.
stops, gropes around, feeling that hes going in the wrong direction
actor: Im acting, playing that its me who is making this movement. That its
me who is saying this sentence at this moment. And am I not me if I say and do
252
what others have imagined Id say or do? Its this falseness I am playing now. And
that too is a thought.
COMMON KNOWLEDGE
starts again, then suddenly turns around and stops
actor: A profound, a very profound thought.
silence; he laughs
actor: So profound, I cant even begin to fathom it.
silence
actor: And this is something nobody else can afford to do. Between seven and
ten in the evening. Only me.
silence
actor: What time is it?
silence
actor: Have we still got time?
silence
actor: What Id like now is not to have to make a single prescribed, practiced,
and rehearsed movement. And no rehearsed words, either. I want to have time
for detours. I just thought of something. Something Id like to tell you right away.
Actually, its only one word thats occurred to me. Nothing else. A single word.
And thats what Id like to say out loud. And I also feel that I will find you. If only
I were to say that word out loud.
actress, on tiptoe, flits across the stage and hides behind the coffin on the left
actor: Its as if I could feel your hair between my fingers. And that reminded me
of that word. Or because of the word, simply because it has occurred to me, I can
feel again your hair between my fingers. At the moment Im lost, but it doesnt
mean anything because Im going to rebel and talk about what has just occurred
to me. That word. And the word made me remember something else too. Your
hair, your head, as if I could feel them in my hands. Maybe I dont want to let
go of what I felt for you a little while ago. But that word, actually I should just
scream it out loud. Nothing else should be done except screaming that word. I
dont feel it anymore. Its like I can feel your hair only when I believe that Id dare
say that word out loud. And this way, something really gets mixed into the act-
ing that maybe shouldnt, something of myself. Me. Something thats from my
own memories. Like that word. But I simply dont dare. Lets talk about some-
thing else. You said love is remembrance. Remembrance, maybe. Then lets
253
remember. Imagine the two of us, when we were seventeen. This is the story Im
going to tell you instead of that word. So I wont have to say it out loud. So that
it should keep. Everything is the same, everything is exactly as it is now, and yet
Bur ia l
everything is completely different because I dont have any memories of you.
Only that word. The taste of your hair.

N da s
actress: Youre thinking. You are thinking needlessly.
actor: Back then I didnt have a single rehearsed gesture, I hadnt even found the
timbre of my own voice; it was false, a little louder than it should have been. But
have patience.
actress: You are thinking.
actor: Imagine an empty apartment. Id rather tell you the story. About break-
fast leftovers on your kitchen table. So I wont have to tell you the word. About
the beautiful October sunshine coming through the dusty window. I dont dare.
Its Wednesday. I dont dare. About the way we drop our schoolbags in the hall-
way. I dont dare yell it out. Its morning, ten after eight. Or even to say it out
loud. About the rug all crumpled up under our feet. If that word stays inside me,
thats no good either. About the record of dancing music thats over, and the
humming silence of the record player, about the unmade bed. But that word
shouldnt be spoiled. About the unfamiliar smell of the bed. The unfamiliar dim-
ness of the apartment left empty.
actor starts again toward the actress
actor: Imagine the shooting outside, in the light. If I said it out loud, even this
word would not remain. The record is over; we put it on so we wouldnt hear the
shooting, but we can now hear it again. Now closer, now from farther away. If I
cant say it out loud it would rot in my lungs. And imagine also our own breathing.
actress: Id like to warn you: you are thinking.
actress stands up, tiptoes rapidly behind the actor; the actor continues to grope in
the direction of the sound of the actresss voice
actor: Dont warn me about anything. Instead, you too should try to imagine the
shooting in the beautiful autumn sunlight. And the word.
actress: Id like to warn you that these are not your memories.
actor turns in the direction of the voice, but actress again moves behind his back
actor: As I say, these are our memories.

actress: Not a single word is yours; youve rehearsed every one of your gestures.
How could you possibly have any memories?
actor strikes out in the direction of her voice, but actress again manages to get behind
his back
254
actor: As I say, I am telling you about our memories.
actress: Well, the big, famous rebellion didnt happen! The word also stayed
stuck in you. And thats only a word, too. Doesnt mean anything.
COMMON KNOWLEDGE
actress laughs, actor starts in the direction of her voice; she gets behind him again
actor: As I say, imagine the unaired, stuffy smell of the apartment. (screams) I am
telling you about our memories, about the empty streets. About the incredible
silence over the whole city. (quietly) Our memories, (screams) the silence that
issued from the houses, from every house, from every tree and every bush silence
was pouring out, and it also emanated from the cemeteries and the bridges, even
lamp posts were exuding that awful silence, and this immense amount, this
immeasurable silence settled on the branches, on the sky, and still it kept rolling,
out of the dark doorways, out of sewage drains, and let us hasten to note that this
was the stinking silence, the great stinking silence, every kind of silence wanted
to come out, break free, and it was this silence that turned that Wednesday sky
so clear, and it almost exploded with all that silence that still wanted to come out
(quietly) but stayed stuck inside. And in this silence the shooting could be heard.
And we kept standing there in that silence as if we had had to decide about this
silence, to make a decision that would be most natural. To choose what was most
natural. To love. To pick the most natural word. The most natural gesture. Some-
thing we had wanted for a long time and now it was there in the silence, as if it
were within reach, all we had to do was stretch out our hands. And also imag-
ine, please, that Id never dared to approach you, to speak to you. There you
were, looking at me, and I was looking at you.
actor is groping in the air as if he hoped that with the next step hed reach actress
actor: Id like to take off this blindfold now. Id like to see.

actor turns around again; actress again gets behind his back
actor: Heres the first image of the world I thought was worth keeping: You. As
if I was born because you called to me and I went with you; and we stood there
in the hallway, entrusted to our own decision, and I could touch you. Now the
word is helpful. Its helping me tell the story. I can feel your head in my hands,
your hair between my fingers. There was shooting in the streets, silence made
the sky blue, and never again would we ever feel things so intensely as we did
then.
actress: Youre thinking.
actor turns with lightning speed, grabs in her direction, but actress manages to avoid
him and get behind him
255
actor: There was your hair, your eyes, your forehead, your nose, and there was
your mouth. Your mouth. When the door closed behind us it was as if we had
shut out the shooting just a little. But they were shooting. And there were your
Bur ia l
shoulders and your breasts. Your lap, your legs. There you stood before me with
your scuffed red shoes. And they were shooting. Each side just letting go with

N da s
two long, very long bursts that sounded as if theyd never end. And then silence
again, suddenly. And a single, lone shot. If I had clenched my fist then, I might
have caught some of that thick silence. Everything was made of that silence then.
actress: Youre thinking.
actor turns with lightning speed, grabs in her direction, but actress manages to avoid
him and get behind him
actor: And then I grabbed, I got hold of your head, with both my hands. I didnt
mean to, it just turned out that way. Maybe it was your head that got hold of my
hands. Because thats where it belonged. Everything had its right place then.
There was no need to think about anything. And theres nothing more I can say
about this. The rest was a matter of the mouths, of the glands, perhaps, of the
cells, of the bed, of the smells, a matter of the shooting outside, of our breathless
breathing, and that record that was over. Back then everything had come together
so that we could live, exist.
actor: I fainted then, because it was too much for me.
actor slowly turns around, but actress now does not move away; actor takes
actresss head into his hands
actor: And I still havent come to.

actress: I am here.
actor: It didnt work.
actress: You can feel it. My heads in your hands.
actor: Ive been looking for her ever since.
actress: Its me.
actor: This is not you.
actress: Its me.
actor: Thats what my story is about.
very long silence

they stand motionless
then actress lowers her head on actors chest, actor lowers his head on
actresss shoulder
they are hugging each other harder and harder, then stiffen into motionlessness
very long silence
256
actress: There is nothing else.
actor: Nothing else. There is nothing else.
COMMON KNOWLEDGE
very long silence; theyre motionless
actress: You really had a love like that?

actor: You became the one.
actress: I didnt know you then.
actor: And now?
actress: Why?
actor: Im behind a made-up story.
actress: Then Ill crawl in there, if you let me.
actor: Squeeze tight.
actress: I think Im already in.

actor: Come further, further inside!
silence
actress: Im in already.
actor: Further, further in!
silence
actress: Im in already.
actor: Now its good, at last.
actress: Its good.

actor: Good, good.
actress: Good. At last, good.
actor: Good, good, good.
actress: Now at last its good, good.
actor: Good, good, good, good.
actress: Now at last its good, good, good, good.
actor: Good.
actress: At last.
actor: Now.
actress: Its good.

257
actor: Is it good?
actress: I love you.
actor: You love me.
Bur ia l
actress: Yes.
actor: Its good.

N da s
actress: I love you.

actor: Now I can confess that Im the one who is in this invented story, too. You
make up a story to avoid saying something you dont want to, and then you wind
up being in the made-up story anyway.
actress: I can also make that confession. You tell somebody what you feel, and
it seems as though youd just invented it. And yet its all true.
very long silence

actor gently swipes cap off actresss head and digs his fingers into her hair; the
cap falls to the floor
with a single movement actress swipes off actors blindfold and cap, digs her
fingers into actors hair; cap and scarf fall to the floor
using both hands, they each hold the others head
very long silence
actor: So, here we are, just the two of us.

actress: I can see my eyes in your eyes.
actor: Me, too.
actress: The unique moment.
actor: In which we truly exist.
actress: The real thing.
actor: Can you still feel it?
actress: Its still holding.
actor: And there is nothing else.
actress very slowly slides her left hand down to actors shoulder, and with her right
hand she takes his hand
actress: Then maybe we could start the show, after all.

actor: Its almost time for intermission.
actress: And what sort of show do you have in mind for after the intermission?
actor: What sort?
actress: I thought you knew.
actor: I thought you knew.
silence
258
actress: I dont know.
silence
COMMON KNOWLEDGE
actor very slowly slides his right hand onto the actresss waist
actor: I have a beautiful show in mind.

actress: With two loving hearts.
actor: And lots of emotions.
they have assumed a position for waltzing, and now very slowly they begin to dance
of course there is no music, but rehearsals should be done with music because the
dance must be very precise, and the possibility of the dialogue dictating the rhythm of
the movements should be avoided
recommended music for rehearsals: Carl Maria von Webers waltz Invitation to
the Dance

actor: Thats what were doing.
actress: Untamed sensuality.
actor: Lots and lots of superfluous movements.
actress: A dash of humor. Not too much.
actor: Juicy politics.
actress: Dreams. Absolutely indispensable.
actor: Philosophy. The most profound of profound reason. Seriousness.
actress: And lots of wickedness. Filth, disgrace, murder.
actor: Intrigue, betrayal, refined diplomacy.
actress: Cannons, swords, daggers, poisoned goblets.
actor: Champagne.
actress: Cognac.
actor: Hangings.
actress: Bullets to the head.
actor: Innocence.
actress: And honesty, too.
actor: Moral stance. Ethics, and moralizing, lots of that.
actress: Spoon-feeding.
actor: Great ideals, eternal beliefs. Friendship.
actress: And love, love. And once again, love.
actor: Lots of things to say.
actress: Words, words, words.
actor: Concoctions.
actress: Hot air.
actor: Blah-blah.
actress: Flavored with home-made jam.
259
actor: Text on top of text.
actress: Going down smoothly.
actor: To while away the time with it.
Bur ia l
actress: Everything but a little silence.
actor: Dont anyone dare think!

N da s
actress: Of silence. Or the word.
actor: No pausing for memories.
actress: Every word must be immediately followed by another.
actor: The same goes for every memory.
actress: Words are to mask words.
actor: Just like were doing it right now.
actress: That should do for opening night.
actor: Memory should hide memory.
actress: Only that word should not be heard!
actor: Nobody should know that thats the word wed like to say out loud.
actress: All our remembrances should leave no trace of memories.
actor: Id like to say it out loud.
actress: Movement should hide movement.
actor: To utter that one, that single word.
actress: Let it be drowned out by dancing and music, trance and pleasure.
actor: To scream it out loud.
actress: Let there be opulence, silks, silver, mirrors, velvet, fashion.
actor: Or to fall silent. If it cant be done.
actress: And let chandeliers throw brilliant beams of light; let gray-haired gen-
tlemen in tuxedos approach on the red carpet.
actor: And Ill roll it into muteness. Ill wrap it into silence.
actress: Veils, curtains, painted cities, deadly struggle, excitement, fear, lechery,
awards and decorations should hide it.
actor: Hide it.
actress: Hey diddle diddle.
actor: The cat and the fiddle.
actress: Should suppress it.
evenly and precisely they dance all around the stage; neither increasing nor decreasing
their speed, they describe the same exact circle again and again
actor: And then its possible to say it out loud.
silence; theyre dancing at an even pace
actress: If its already superfluous.

260
actor: Because we can do whatever we want to.

COMMON KNOWLEDGE
actress: We could say it out loud, if we wanted to.
actor: That word.
actor: Except that we dont want to.
actor: We dont want anything.
actress: We havent got anything.
actor: Weve squandered even what we did have.
actress: And were not even sad or sorry about that.
actor: Though were not too cheerful, either, thats true.
actress: At any rate, here we are.
actor: Simply are.
actress: Although with a bit of finesse we could have kept that dagger. To have
it, just in case.
actor: Or that red scarf. For better days.
actress: Or those caps.

261
actor: Its not raining, anyway.
Bur ia l

actress: Lucky for us.
N da s
actor: One must always think over ones situation thoroughly. And then noth-
ing can go wrong.
actress: Whatever weve lost, we have gained just as much.
actor: After all, we did have to play our cards.
actress: At least we played a little.
actor: Lucky for us.

actress: After all, we are actors. What else could we do?
actor: Its true, though, that we got a little mixed up.

actress: Confused.
actor: Gone nuts.
actress: Went bananas.
actor: We dont really know ourselves.
actress: What we feel.
actor: And mostly what we dont feel.
actress: Toward each other.
actor: Of course, the way things are, nobody can believe us anymore.
actress: And why should they?
actor: Thats what I mean.
actress: Dont worry about them.
actor: We can worry about ourselves.
actress: At least its the two of us.
actor: At least thats something we can count on.
actress: We are dancing.
actor: At last.
actress: I feel good.

262
actor: We are dancing.
actress: We are.
actor: We feel.
COMMON KNOWLEDGE
actress: We are thinking.

actor: Lets put all that into our dance now.
actress: So there should be nothing left.

actor: Lets not allow anything to hide behind anything else.
actress: So that we could hear.

actor: The silence, at last.
actress: So that in the silence I could at last say it out loud.
actor: Dont.
actress: I can say anything.
actor: Yes, you can.
actress: We can do anything.
actor: You can do anything.
actress: I dont dare.
actor: Say it out loud.
actress: Weve become quite a team.
actor: Thats all we could do.

263
actress: Thats all.
Bur ia l

actor: Nothing else.
N da s
actress: Compared to nothing, it is something.
actor: Too much, even.
actor: There must be still something wed have to give up.
actress: Renounce.
actor: So we could feel.
actor: Its lack.
actress: We wont be able to hide it any longer.

actor: It creeps out from under our fatigue.
actor: Even though its good.

actress: Quite good.
actor: Almost splendid.
actress: Were dancing.

actor: Got accustomed to each other.
actress: Were flushed and excited.
actor: Were together.
actress: Very nice.

264
actor: Were out of breath.
actress: We cant stop.
actor: We could start now.
COMMON KNOWLEDGE
actress: Well, lets start then.
suddenly, breaking momentum and their rhythmic steps, they stop; awkwardly they let
go of each others hands; look at each other
very long silence
they turn away from each other, lower their heads
they are panting loudly
actor starts walking upstage
actress: Ill just catch my breath.
very long silence

they are breathing and panting loudly
once their breathing subsides somewhat, actress looks around and slowly heads
for the coffin on the left
actress: There is nothing to start.
very long silence

actor leans against upstage wall, then slowly turns around and slides down to the
floor
sits quietly
actress sits on coffin on the left; they are both staring vacantly in front of them-
selves
very long silence
actress suddenly gets up, starts walking and very slowly gathers the props: the
knife, the scarf, the two caps, and puts them all in a small pile at center stage; then slowly
she sits on the floor, too.
actress: We could light it, if we had matches.
very long silence
actor: It could be a signal fire.
very long silence
actress: Fire.
very long silence

suddenly actor jumps up, comes down and stops above the actress
265
actor: Leave-taking.
actress gets up uncertainly; they stand facing each other as they did a little while ago
Bur ia l
quickly, a bit hysterically, and a bit pathetically they hug each other
silence

actor pushes actress away, and with his head motions for her to leave the stage
N da s
actress starts backing away but stops after a few steps
actor signals with his hand
actress backs away some more but stops after a few steps
actor: Go.
actress continues to back away for a few steps, then stops again
actor: Go.
actress once again takes a few steps backward, but then retraces her steps, stops
actor: Go, go.
actor lowers his head

actress backs away, stops
actor waits, motionless
very long silence
actress raises her hand, slowly lowers it and then very quickly backs out of the
stage, disappearing in the wings upstage right
very long silence
actor does not move
actress reappears in the right wing, stops
actor waits, motionless
very long silence
actress again disappears
very long silence
actor does not move
the duration of this silence, like the one at the beginning of the play, ought to be
adjusted to the patience threshold of the audience, but it definitely must be well beyond
the limits of patience, bordering, say, on the scandalous
then actor bends down, one by one picks up the props from the floor, looks around,
takes props to the coffin on the left, looks around again, then quickly lifts up the coffin
lid and with one swift movement throws props inside
lowers the lid, looks around
very long silence
laughs out loud
raises the lid again, looks in, reaches in and, awkwardly, with one hand, while
266
holding the lid with the other, he slowly pulls out the life-size puppet that looks like the
actress
caught by the puppet, the props also spill out onto the floor
COMMON KNOWLEDGE
actor lets go of the puppet, throws props back into coffin, lowers lid
he lifts puppet by its long hair, pulls it to center stage, lays it down, raises its head
onto the step, and carefully arranges the puppets limbs
he is looking at the puppet
very long silence
he looks around again, waits, as if waiting for the actress to appear from the
right wing, then he goes to the coffin on the right, raises the lid, reaches in andnow
more experiencedgrabbing it by the hair he pulls the puppet of his own image out of
the coffin
lowers the lid, straightens up, and lifts the puppet by its hair into the air, lowers it,
lifts it into the air again
he lets out a coarse and loud burst of laughter
shakes puppet, laughs out loud; then suddenly he lets go of the puppet and kicks it
puppet collapses
actor is looking at the puppet
very long silence
actor goes back to coffin on the left and while holding its lid open and taking out
the props, the knife, the scarf, the two caps, he is singing a song
actor: Hey diddle diddle

A cat and a fiddle
cow jumped over the moon
Oh what a sight
It gave me a fright
And the knife ran away with the spoon
he takes the knife, the scarf, and the caps over to his own puppet, puts one of the caps on
the puppets head, with the scarf he blindfolds the puppet, lays the puppet on its back,
arranges its limbs properly, then with the knife in his hand he goes behind the puppet and
squats down
very long silence
then he raises the knife and twice in succession very quickly stabs the puppet in
the chest
very long silence
puts down knife, raises puppet and drags it next to the actresss puppet, arranges
limbs again
267
very long silence
then, while putting the other cap on the head of the actresss puppet, he takes scarf
Bur ia l
off his own puppet and blindfolds the actresss puppet, again he sings, this time louder

actor: Hey diddle diddle
N da s
A cat and a fiddle
The cow jumped over the moon
he picks knife off the floor, squats behind the head of the actresss puppet
then he raises the knife and twice in quick succession stabs the puppet in the chest
as if dissatisfied with the result, he stabs the puppet a third time
very long silence
while taking the scarf off the actresss puppet, he sings again, this time more and
more softly
actor: Oh what a sight

It gave me a fright
And the knife ran away with the spoon.
with knife and scarf in his hand, he stands up

very long silence
he wraps the knife tightly into the scarf and comes downstage all the way to the
edge of the stage
he puts the wrapped-up knife on the floor
he is looking at it
very long silence
then he quickly turns around, goes back to puppets, lifts them up and tries to lean
them against each other
for a moment the puppets stay upright, then collapse, falling on each other
he tries again, but after a few seconds the puppets cave in again
he sits down next to them on the floor, lowers his head, pulls his knees up to his chest,
clasps his hands round his knees, and gently rocks himself for a little while
slowly he stiffens into motionlessness
very long silence
he gets up
he grabs both puppets and drags them to the coffin on the right, lifts off the coffin
lid, stuffs puppets quickly into coffin, replaces the lid
he is looking at the coffin
very long silence
he looks around
268
several times he walks around the stage, covering the whole space; he touches and
looks at everything, runs his fingers over surfaces, but this is not an act of getting
acquainted, but one of parting
COMMON KNOWLEDGE
comes down to the coffin on the left, lifts its lid, climbs in, lies down, lowers the lid
on himself
very long silence
the coffin lid is raised, actor looks out, as if waiting for something else, he leans
far out of the coffin
very long silence
very slowly he pulls his head back in and lowers the lid again
the stage is empty, the lights are unchanged
of course actor and actress do not come out to take a bow
The first English presentation of Burial, as a rehearsed reading, took place on September
27, 1998, at the North Carolina Shakespeare Festival (Louis Rackoff, artistic director). It
was directed by Imre Goldstein with the participation of Allan Hickle-Edwards, Elizabeth
Slaby, and with Ellen OBrien as narrator. The stage manager was Matt Jackson.

Peter Nadas Burial. Comedy

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Burial Comedy without Intermission

Common Knowledge, Volume 8, Issue 1, Winter 2002, pp. 218-268 (Article)

Published by Duke University Press

For additional information about this article

Access Provided by your local institution at 11/12/11 11:52PM GMT

Translated by Imre Goldstein

actress: Youre in it too?

actor: You too?

actress: Well pretend we didnt see anything.

actress: Lets get away from here.

actor: Lets go back.

very long silence

actress: Lets get out of here.

actress: Im going to forget it.

very long silence

actress: No big deal.

very long silence

actress: What are we going to play today?

actor: What are we going to play today?

actress: Why are you imitating me?

very long silence

actress: You know what kind of animals imitate people?

actress: I dont know.

long silence; theyre motionless

actor: Why are you asking me?

actor: But now it feels like I just beat you at something.

actor: I wouldnt want any kind of arbitrariness, either.

actress: Then lets just be quiet.

actor: I dont want to do anything as if. As if there was an as if.

actor: But what are we supposed to do with our hands?

actor: Youre in trouble, arent you?

actress: When one speaks, movement comes automatically.

very long silence

very long silence

very long silence

actress: We are free?

actress: Maybe too much, even.

actress: But now I am completely stiff, I think.

actor: Here we are.

very long silence

actress: Were alive.

very long silence

actor: Lets catch our breath.

very long silence

actress: Problem is, a person by himself or herself isnt worth anything.

actor: This was only the warm-up.

actor: Whats up?

silence; actress does not move

actor: Why dont you answer?

silence; actress does not move

actor: I told you to come over.

silence; actress does not move

actor: Well do it slowly, gradually.

silence; actress does not move

silence; actress does not move

silence; actor reaches out, actress does not move

actor: Were helping each other.

silence; actress does not move

actor: Its all right, you can come over. Go ahead!

actor: There was no other way I could call you over.

silence; actress does not move

actor: Well, itll be a lousy play like this.

very long silence

actor: Im asking you for the last time.