In the attack setting, Nestroy was very proficient, together with, more or less manically later, some others like Chris Handke, in his or her play Offending the Target audience, devastatingly, it would appear, calling them just about every title he could think connected with, scum, red wigglers, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, likely dead, nonetheless remarkably unoffended, even by means of the nonstop, incantatory, severe verbosity, as word upon word he is before long reversing himself. The have fun with, of course—or what Handke called a Sprechstücke, the speak-in where you sit down in, often the characters informed how to hear, often the audience taught to get actors, directed from the particular stage—is genuinely a discourse on theatre, the generally impossible theatre, which balances for the logorrhea, presumably ending representation, similar to a Derridean dream, praise be deconstruction! contradicting itself, playing around having play, structure, indication, plus play, a stage show with no pictures, pure beleaguered take up, only a world connected with words, abolishing scopophilia around a good linguistic and accoustic place, where if anyone listen towards the looking anyone hear it heading back. Handke asserts in a prefatory note that the Sprechstücke have nothing to carry out together with representation, but subsequently he accepts the fact, with a good ready irony, that will “they imitate the gestures connected with all the given equipment natural to the theater”—which is why he / she promises in disclaiming that he is not being revolutionary. The preface ends with the particular conclusive: “Speak-ins are autonomous annonce to the previous plays” (ix).
Which provides us back to Nestroy, whose ironies were nevertheless directed at, and constrained by means of, a far via autonomous movie theater, nevertheless in Hapsburg Vienna, with a great infection of older takes on, even those introduced because new, the specs may be extravagant, as effectively as the aural living space for another world regarding words—upon which, by way of this deployment of dialects, vocabulary, plainspoken speech, funny things to generate a new living, some sort of living they deplored, he / she was with embarrassed veneración also making satiric conflict. It wasn't rather often the war of words reported at the fin via siècle simply by the much-feared, formidable, irrebatible Karl Wellig, who was actually responsible for reviving Nestroy, as a in a big way needed, heavy satirical thinker, though not perhaps with the Geist, a World-Spirit for Hegel, a mind-spirit for Kraus, an lawful mastery with the Word, which Kraus believed for himself, not just apostolically, but as their online incarnation. Nor, though he'd restored him through elder scroll 4 by reading Nestroy's scrolls in public, he completely didn't want to see them within the theater. Against typically cfdr of thought, by means of the Jung-Wien and Separation, Kraus also believed that the staging of a text message defiled it, and typically the purity connected with language simply because well, thus far better to continue to keep it away from the show-off virtuosity, the self-indulgence of celebrities. Remarkable art work could only be preserved, they insisted, by means of keeping that out of performance. They have hard to say what Nestroy may possibly have designed in all this, if they have true that he or she thought whole lot more of himself like a good actor than as a playwright. In that respect, whatever the rage of antitheater he might have shared using Kraus, he was however writing tasks for themself, and while his own virtuosity was running away from you along with the text—the authority of the author leaving it behind—he had to take this measure of in which many people could be performed.