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Page Four. PHOENIXKaspar Fixes on Theme:Language as Wipe-OutBY CORRINE COLEMANThe obsession of Austrian writer Peter Handke; his fix on language, is being acted out at the Chelsea Theater Center at the Brooklyn Academy of Music these days.Calling his current play %u201c K aspar%u201d after his central character who is very loosely modeled after a 19th Century namesake %u2014 a 16-year-old youth at the start of his conceptualization about the %u201ccivilized%u201d world he was strangely thrust into %u2014 Handke alternately plays with and agonizes over the restraining andliberating effects of language.%u201cI want to be somebody like somebody else was once,%u201d Kaspar repeats over and over at the {day%u2019s beginning, defining the idea of self as coming from no inner awakening, but from the understanding of the existence of others relayed primarily through words.The substitution of words for experience and the power of words to define experience is the concurrent theme. This is expressed by Handke%u2019s Kaspar as he suffers and cavorts as an absurdist clown in checkered suit and high laced shoes; and is backed by a chorus ofAn exhibition of paintings by Lise Williams of Cobble Hill will be on display Feb. 14-March 12 at TheBrooklyn Center of LongIsland University, Flatbush Ext. at DeKalb Ave.Ms. Williams studied at Garland Junior College in Boston, where she was an art major, and worked as an interior designer andsilversmith. She hasexhibited at Bloomingdale%u2019s, NYC; Gallery 91, Brooklyn,of which she is a member, and at local art shows.The acrylic paintings shown in this exhibit are based on the work and theories of early astronomers like Kepler. The paintings can be viewed in the lobby gallery of Metcalfe Hall on LIU%u2019s downtown Brooklyn campus Monday to Friday 10:00 A.M. to 7:00 P.M. and weekends 10:00 A.M. to 4:00 P.M.SffSMkLMontagueD i n n e r ' S a t 4 5 * m B r u n c h s M P MImpressions'Kaspar1 Wipe-Outs o Site i S i H o n iaR B r a o k f c j n H e i g h t sm m pawnm m m .E at Drink And Be MerryH oyt A ti f t w hBY DOROTHY EVANSIf you are a capitalist you go to Florida or the lush, breathtakingly beautiful Islands during dull, dull midwinter. However, we peons go to the theater as a break from the not too lively boob-tube evening. The fact that we go out at all on cold winter evenings should, I believe, entitle us to at least get our money%u2019s worth %u2014 in other words be entertained at the theater.Chelsea Theater has a reputation for the controversial, the innovative %u2014 But, does their license to experiment also include repetitions, nerve grating, boredom? In over ten years of reviewing snatches of %u201csocalled entertainment%u201d this is the first time I ha ve ever felt a responsibility to warn the public to STAY AWAY.The subscription series for which we pay and is supported by foundations who give their money for the advancement of experimental theater has been wasted in author Peter Handke, a German, and worse yet Michael Roloff who translated the abomination %u201cKASPAR%u201d into English.The first scene introduces Christopher Lloyd, as the plastic coated moron Kaspar,and this is a literal translation. Were we to visit an institution for the mentally and physically disabled, at least we would feel that our money would have gone to a worthy cause. Are opportunities in the acting field so bad that actors must degrade themselves by taking any role, not alone leads in such trash as this?Christopher Lloyd displayed great acting ability when he controlled himself before a jeering audience in his interpretation of %u201cKASPAR%u201d, for he was the lead and the play. Had it not been for the audience%u2019s amazement at an actor of his ability consenting to play any role in this %u2019%u2019thing%u201d we would have also walked out. The supporting television screens framing the stage only reminded us that we were missing Sunday flight, home in a warm bed watching %u201cThe World of Disney,%u201d and %u201cMystery Movie.%u201dI can only think of my German grandmother who used to tell us the story of the %u201cLittle Match Girl and the Kittens%u201d and wonder why someone hasn%u2019t taken a match to the tail feathers of Director Carl Weber, and Production Design and Lighting sponsor Wolfgang Roth of this thoroughly German atrocity.D%u00bb0**T G tf To TH ISXEA .RTheN visit M K 5-O UVLAKj1*17 /v\\OWTAGUl brr346 Flatbush AvenueNE 8-4552ow ned a n d o p eratedby the M ichel fam ilya P ark Slo p e land m ark since 1910,off Grand Army PlazaLET US Pl a nYOUR NEXT PARTYLUNCHEONDINNERCOCKTAIL LOUNGEBANQUET FACILITIESfree parkingclosed M o ndaysfour other Kaspars in the same attire.The action is heightened by video images created by Video Free America, in a sort of musical framework. The tubal changes %u2014 the patternings %u2014 three sets this way %u2014 nine or 12 that way %u2014 relate in reproducing the action backstage while mocking it in a fugal arrangement. The action at play%u2019s climax becomes specifically musical, moving from polyphonic chanting of rhymed platitudes to a jazz influenced composition of rhythmic shouts.The set up is indeed a mixed bag of 20th Century techniques %u2014 the parody of the lesson with its explication of movement, sound, pain %u2014 the absurdist monologue %u2014 the spectral dancing %u2014 the verbosity into tedium that gets over onto the other side and forces recognition %u2014 the constant visual illustration of reality and its recording.Kaspar, played with incredible virtuosity by Christopher Lloyd, comes down towards the end of the piece and pierces through with his descriptions of conceptualization and what might be called deconceptualization from feeling the bite of snow, to connecting whiteness with snow, to learning that all whiteness is not snow, to losing the connection between snow and the biting feeling.The play winds up against the recurring words, %u201cif only,%u201d in a slap-mess orgy of apeness. Tumbling and tripping, cavorting and slopping, the group becomes a heap and the curtain on brass rings, comes down in the middle of the stage.Kaspar, English version by Michael Roloff, was directed by Carl Weber, designed by Wolfgang Roth, with Video conceived and executed by Arthur Ginsberg and Skip Sweeney. The rest of the Kaspars were played by Randy Chicoine, Veronica Castang, Robert Einenkel and Guy Boyd.PartnersShow at PrattGraphic systems, postage stamps and other designs by Lance Wyman and William Cannan, partners in the design firm of Wyman & Cannan Co. of New York City, will be exhibited in the Pratt Institute Galleries starting Wednesday, Feb. 21 and continuing through Monday, March 5. Both Mr. Wyman and Mr. Cannan graduated from Pratt Institute%u2019s School of Art and Design in 1960. The exhibition is open to the public free of charge from 9 am to 5 pm weekdays in the Main Building, first floor, on Pratt%u2019s Brooklyn campus at DeKalb Ave. and Hall St.Mr. Wyman and Mr. Cannan studied industrial design at Pratt. Since graduation, Mr. Wyman has worked for the General Motors Corporation, William M. Schmidt Associates in Detroit, George Nelson & Co. in New York, Mexican Olympic Committee, and the Mexican Metro Program. Mr. Cannan worked with George Nelson since his graduation from Pratt and until he joined in partnership with Mr. Wyman.STOLENJMerchandise isn't our bag, but we do sel records and tapes at a 75 per cen discount. Sound crazy? So are ou location and business hours - OPEN onh Saturday 10 5 and Sunday 10 %u2022 5. Closci Mon-Friday. Located way out at 163-8tl St. - Corner 3 Ave. BrooklynRecord & TapeW arehouse