In the attack mode, Nestroy was quite skillful, plus, more or not as much manically later, some others like Chris Handke, in his / her play Annoying the Viewers, devastatingly, it would appear, calling them every single brand he could think associated with, scum, red worms, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, potentially dead, yet remarkably unoffended, even by way of the nonstop, incantatory, severe verbosity, as term about word he is before long reversing himself. The take up, of course—or what Handke called a Sprechstücke, a new speak-in where you take a seat in, typically the characters informed how to hear, the particular audience taught to be celebrities, directed from typically the stage—is really the talk on theater, the often impossible theatre, which accounts for the logorrhea, presumably ending representation, similar to a Derridean dream, praise be deconstruction! contradicting zap-me , playing around along with play, structure, indication, and play, a spectacle devoid of pictures, pure beleaguered have fun with, only a world connected with words and phrases, abolishing scopophilia inside some sort of linguistic and ultrasonic living space, where if a person listen closely to the looking you hear it heading back. Handke asserts in some sort of prefatory note that the Sprechstücke have nothing to accomplish having representation, although then he admits, with a new ready irony, of which “they imitate the motions connected with all the given equipment healthy to the theater”—which is why they states in disclaiming the fact that he is not being revolutionary. This preface ends with the particular ultimate: “Speak-ins are autonomous commencement to the outdated plays” (ix).
Which gives us back to Nestroy, whose ironies have been nonetheless directed at, and limited simply by, a far coming from autonomous movie theater, while inside Hapsburg Vienna, with a infection of aged takes on, even those declared like new, the glasses can be extravagant, as well as the ultrasonic room for another world connected with words—upon which, by typically the application of dialects, info, plainspoken speech, funny stuff to create a good living, a good living he or she deplored, this individual was with disgusted celo also making satiric battle. It wasn't very often the war of thoughts reported at the fin de siècle simply by the much-feared, formidable, incontestable Karl Lockig, who was actually in charge for refreshing Nestroy, like a in a big way desired, deep satirical thinker, though not necessarily perhaps with the Geist, a World-Spirit for Hegel, a mind-spirit for Gelockt, an ethical mastery in the Word, which Kraus advertised for himself, not only apostolically, but as its digital métamorphose. Nor, while he'd recovered him via oblivion by simply reading Nestroy's text messaging in public places, he totally didn't need them inside the movie theater. Against this aestheticizing of intuition, by simply the Jung-Wien and Secession, Kraus also believed that this staging of a text message defiled it, and this purity associated with language simply because well, thus preferable to preserve it away from typically the show-off virtuosity, the self-indulgence of actors. Spectacular art could be preserved, he or she insisted, simply by keeping it out of performance. Is actually hard to say what Nestroy could have designed in all this, if they have true he thought extra of himself as a actor than as some sort of playwright. In that respect, no matter what rage of antitheater he might have shared with Kraus, he / she was still writing functions regarding themself, and while his personal virtuosity was running away from you with the text—the authority of the author leaving it behind—he had to take this measure of exactly where they will could be performed.
