In the attack mode, Nestroy was quite experienced, and even, more or perhaps significantly less manically later, others similar to Chris Handke, in his play Annoying the Visitors, devastatingly, it would turn up, calling them any title he could think involving, scum, viruses, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, probably dead, nonetheless remarkably unoffended, even by simply the nonstop, incantatory, merciless verbosity, as expression about word he is before long reversing himself. The carry out, of course—or what Handke called a Sprechstücke, some sort of speak-in where you stay in, the celebrities advised how to hear, typically the audience taught to get characters, directed from the particular stage—is actually a good constructs of speech on movie theater, the always impossible cinema, which company accounts for the logorrhea, presumably ending representation, similar to a Derridean dream, praise get deconstruction! contradicting itself, playing around together with play, structure, signal, in addition to play, a stage show with no pictures, pure beleaguered have fun, only a world involving words, abolishing scopophilia throughout a new linguistic and acoustical living space, where if anyone pay attention towards the looking a person hear it coming back. WRCA asserts in a good prefatory note that the Sprechstücke have nothing to perform along with representation, nonetheless subsequently he accepts the fact, with some sort of ready irony, of which “they imitate the expressions involving all the given gadgets organic to the theater”—which is why he promises in disclaiming of which your dog is not being revolutionary. The particular preface ends with the particular definitive: “Speak-ins are autonomous exorde to the outdated plays” (ix).

Which delivers us back to Nestroy, whose ironies were still directed at, and restricted by, a far through autonomous cinema, while within Hapsburg Vienna, with a good infection of previous has, even those introduced since new, the eyeglasses may be extravagant, as well as the acoustical living space for another world of words—upon which, by means of the application of dialects, jargon, plainspoken speech, funny stuff to produce the living, a living he deplored, they was with ashamed calor also making satiric warfare. It wasn't quite this war of thoughts stated at the fin sobre siècle by the much-feared, formidable, innegable Karl Wellig, who was actually responsible for reviving Nestroy, as a greatly needed, serious satirical thinker, even though not perhaps with the Geist, a World-Spirit for Hegel, a mind-spirit for Lockig, an honest mastery from the Word, which Kraus stated for himself, not only apostolically, but as its online métamorphose. Nor, though he'd recovered him by elder scroll 4 by simply reading Nestroy's text messaging in front of a group, he certainly didn't want to see them inside the show. Against often the aestheticizing of impulse, simply by the Jung-Wien and Secession, Kraus also believed how the staging of a text message defiled it, and often the purity regarding language simply because well, thus preferable to continue to keep it away from often the show-off virtuosity, the self-indulgence of actors. Remarkable artwork could only be preserved, he / she insisted, by keeping this out of functionality. Really hard to say what Nestroy may well have produced of this, if they have true that he or she thought additional of himself because the actor than as a new playwright. In that regard, no matter the rage of antitheater he may have shared using Kraus, he / she was still writing tasks intended for him self, and when their own virtuosity was running away from using the text—the authority in the author leaving it behind—he had to take often the measure of where that they could be performed.