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In the attack function, Nestroy was quite skillful, and even, more or not as much manically later, some others like Chris Handke, in his / her play Annoying the Viewers, devastatingly, it would turn up, calling them any title he could think regarding, scum, red worms, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, potentially dead, although remarkably unoffended, even simply by the nonstop, incantatory, merciless verbosity, as statement after word he is before long reversing himself. The take up, of course—or what Handke called a Sprechstücke, the speak-in where you sit down in, typically the celebrities advised how to hear, the audience taught to end up being famous actors, directed from this stage—is genuinely a discourse on show, the always impossible movie theater, which company accounts for the logorrhea, most probably ending representation, being a Derridean dream, praise get deconstruction! contradicting itself, playing around with play, structure, sign, and play, a discussion with out pictures, pure beleaguered play, only a world regarding words, abolishing scopophilia around a new linguistic and accoustic area, where if anyone listen towards the looking anyone hear it rebounding. Handke asserts in some sort of prefatory note that the Sprechstücke have nothing to do along with representation, nevertheless subsequently he confesses, with a good ready irony, that will “they imitate the signals connected with all the given units all natural to the theater”—which is why he / she boasts in disclaiming that he has not being revolutionary. The preface ends with often the ultimate: “Speak-ins are independent annonce to the aged plays” (ix).Which delivers us back to Nestroy, whose ironies were being nonetheless directed at, and limited simply by, a far coming from autonomous theater, even though inside Hapsburg Vienna, with an infection of older works, even those released since new, the cups could be extravagant, as well as the auricular space for another world involving words—upon which, by this deployment of dialects, jargon, plainspoken speech, funny stuff to generate a new living, some sort of living they deplored, this individual was with ashamed celo also making satiric war. It wasn't rather the particular war of words and phrases stated at the fin via siècle by simply the much-feared, formidable, innegable Karl Lockig, who was actually responsible for refreshing Nestroy, like a in a big way needed, heavy satirical thinker, though definitely not perhaps with the Geist, a World-Spirit for Hegel, a mind-spirit for Gewellt, an moral mastery on the Word, which Kraus stated for himself, not simply apostolically, but as it has the electronic métamorphose. Nor, even though he'd restored him by oblivion by means of reading Nestroy's text messaging in public areas, he definitely didn't be interested in them inside the show. Against the aestheticizing of impulse, by way of the Jung-Wien and Secession, Kraus also believed the staging of a text defiled it, and often the purity of language such as well, thus far better to preserve it away from this show-off virtuosity, the self-indulgence of actors. challenge could be preserved, they insisted, by keeping this out of efficiency. Is actually hard to say precisely what Nestroy may have manufactured of this, if is actually true that they thought whole lot more of himself because the actor than as some sort of playwright. In that respect, no matter the rage of antitheater he may have shared together with Kraus, he / she was nevertheless writing functions with regard to him or her self, and even though his own virtuosity was running away from you having the text—the authority from the author leaving it behind—he had to take this measure of just where they will could be performed.