The theater of Peter Handke is [self-conscious] …, not simply in terms of self-referentiality, but in its overall assertion of theater as a self-sufficient entity. In its persistent characterization of itself as something apart from the elements of reality, dependent upon no external references, the theater of Peter Handke is the culmination of the modern dramatist's concern with his own art. (p. 105)

One would think that in drama the fact of physical presence would make the challenge of creating a self-sufficient world even more difficult [than in prose fiction], but Handke has succeeded in creating just such an illusion in The Ride Across Lake Constance. (pp. 105-06)

For centuries the drama has been like life; indeed, its main task has been to represent life. But Handke feels there should be no apparent mimetic relationship between the two; drama should be pure fiction, which does not depend for its understanding...