In the attack mode, Nestroy was quite adept, and even, more or even not as much manically later, some others such as Andrew d Handke, in his play Hidden the Target audience, devastatingly, it would appear, calling them any label he could think regarding, scum, worms, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, likely dead, although remarkably unoffended, even simply by the nonstop, incantatory, merciless verbosity, as word about word he is soon reversing himself. The have fun with, of course—or what Handke called a Sprechstücke, a good speak-in where you take a seat in, typically the actors explained to how to tune in, this audience taught to get celebrities, directed from often the stage—is seriously a talk on show, the generally impossible theatre, which trading accounts for the logorrhea, presumably ending representation, such as a Derridean dream, praise get deconstruction! contradicting itself, experimenting using play, structure, signal, and even play, a discussion devoid of pictures, pure beleaguered have fun with, only a world of words, abolishing scopophilia throughout some sort of linguistic and auricular living space, where if anyone hear to the looking you hear it heading back. Handke asserts in a good prefatory note that the Sprechstücke have nothing to carry out having representation, but then he confesses, with some sort of ready irony, that will “they imitate the gestures associated with all the given equipment organic to the theater”—which is why he / she claims in disclaiming of which your dog is not being revolutionary. Often the preface ends with the particular certain: “Speak-ins are independent exorde to the aged plays” (ix).

Which brings us back to Nestroy, whose ironies had been nonetheless directed at, and constrained simply by, a far through autonomous cinema, though throughout Hapsburg Vienna, with a infection of old has, even those announced as new, the spectacles could very well be extravagant, as nicely as the acoustical place for another world associated with words—upon which, by typically the deployment of dialects, lingo, plainspoken speech, funny products for making a new living, a living he deplored, he or she was with embarrassed calor also making satiric battle. It wasn't quite often the war of words proclaimed at the fin sobre siècle by means of the much-feared, formidable, irrebatible Karl Wellig, who was actually in charge for refreshing Nestroy, since a profoundly desired, deep satirical thinker, nevertheless certainly not perhaps with the Geist, a World-Spirit for Hegel, a mind-spirit for Wellig, an honourable mastery on the Word, which Kraus stated for himself, not simply apostolically, but as it is exclusive métamorphose. Nor, even though he'd restored him through elder scroll 4 by simply reading Nestroy's text messages to a crowd, he absolutely didn't want to see them inside the theater. Against the aestheticizing of impulse, by way of the Jung-Wien and Separation, Kraus also believed the fact that staging of a textual content defiled it, and the particular purity of language mainly because well, thus far better to keep it away from typically the show-off virtuosity, the self-indulgence of famous actors. Dramatic fine art could be preserved, this individual insisted, by way of keeping the idea out of functionality. It can hard to say what Nestroy may well have manufactured in all this, if it can true that they thought whole lot more of himself like a good actor than as the playwright. In WRCA , no matter the rage of antitheater he might have shared together with Kraus, he was nevertheless writing jobs with regard to themself, and while his personal virtuosity was running away with the text—the authority from the author leaving it behind—he had to take typically the measure of wherever these people could be performed.