In the attack setting, Nestroy was really skillful, in addition to, more or even less manically later, others like Andrew d Handke, in his play Offending the Target audience, devastatingly, it would seem, calling them every single label he could think involving, scum, red wigglers, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, possibly dead, although remarkably unoffended, even by simply the nonstop, incantatory, merciless verbosity, as expression upon word he is soon reversing himself. The play, of course—or what Handke called a Sprechstücke, a speak-in where you take a seat in, typically the celebrities informed how to listen closely, this audience taught to become famous actors, directed from typically the stage—is genuinely the constructs of speech on cinema, the constantly impossible theatre, which accounts for the logorrhea, possibly ending representation, like a Derridean dream, praise be deconstruction! contradicting rays web , playing around having play, structure, indication, in addition to play, a spectacle with no pictures, pure beleaguered take up, only a world connected with words, abolishing scopophilia in some sort of linguistic and acoustical space, where if a person listen closely on the looking an individual hear it coming back again. Handke asserts in a prefatory note that the Sprechstücke have nothing to accomplish having representation, nevertheless after that he confesses, with a good ready irony, of which “they imitate the motions connected with all the given units all natural to the theater”—which is why they says in disclaiming the fact that she has not being revolutionary. The particular preface ends with the conclusive: “Speak-ins are independent annonce to the old plays” (ix).

Which delivers us back to Nestroy, whose ironies had been however directed at, and limited by, a far through autonomous theatre, nevertheless in Hapsburg Vienna, with a infection of outdated runs, even those declared since new, the eyeglasses could be extravagant, as properly as the ultrasonic room for another world involving words—upon which, by way of the deployment of dialects, lingo, plainspoken speech, funny goods to create some sort of living, some sort of living he / she deplored, he / she was with embarrassed fervor also making satiric war. It wasn't really the particular war of words and phrases declared at the fin sobre siècle by way of the much-feared, formidable, concluyente Karl Gelockt, who was actually in charge for refreshing Nestroy, like a in a big way wanted, full satirical thinker, nevertheless not necessarily perhaps with the Geist, a World-Spirit for Hegel, a mind-spirit for Gewellt, an lawful mastery in the Word, which Kraus advertised for himself, not merely apostolically, but as the electronic incarnation. Nor, even though he'd reconditioned him from oblivion by simply reading Nestroy's text messaging to a crowd, he certainly didn't want to see them within the theatre. In opposition to the aestheticizing of reaction, by way of the Jung-Wien and Separation, Kraus also believed the fact that staging of a written text defiled it, and the particular purity regarding language as well, thus far better to keep it away from the show-off virtuosity, the self-indulgence of famous actors. Spectacular artwork could just be preserved, they insisted, by means of keeping this out of effectiveness. Really hard to say what exactly Nestroy may possibly have designed of all this, if it can true that he or she thought whole lot more of himself because a great actor than as the playwright. In that regard, whatever the rage of antitheater he might have shared using Kraus, he or she was still writing tasks with regard to him self, and when his personal virtuosity was running away together with the text—the authority from the author leaving it behind—he had to take the measure of where they could be performed.