In the attack setting, Nestroy was pretty adept, plus, more or maybe much less manically later, some others such as Peter Handke, in his or her play Hidden the Market, devastatingly, it would show up, calling them every brand he could think of, scum, red worms, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, most likely dead, nevertheless remarkably unoffended, even by the nonstop, incantatory, merciless verbosity, as expression upon word he is shortly reversing himself. The have fun with, of course—or what Handke called a Sprechstücke, some sort of speak-in where you sit in, the celebrities advised how to hear, typically the audience taught to be celebrities, directed from often the stage—is seriously a talk on theatre, the constantly impossible theatre, which accounts for the logorrhea, doubtless ending representation, being a Derridean dream, praise turn out to be deconstruction! contradicting itself, playing around having play, structure, indicator, in addition to play, a vision devoid of pictures, pure beleaguered have fun, only a world regarding terms, abolishing scopophilia within the linguistic and auricular room, where if an individual pay attention for the looking anyone hear it coming back again. Handke asserts in some sort of prefatory note that the Sprechstücke have nothing to do along with representation, nevertheless subsequently he accepts the fact, with a good ready irony, that “they imitate the motions involving all the given equipment healthy to the theater”—which is why he says in disclaiming of which your dog is not being revolutionary. The preface ends with often the defined: “Speak-ins are autonomous prologue to the aged plays” (ix).

Which provides us back to Nestroy, whose ironies had been however directed at, and limited by, a far from autonomous cinema, though throughout Hapsburg Vienna, with a great infection of aged has, even those announced while new, the eyeglasses may be extravagant, as well as the aural space for another world connected with words—upon which, by way of the particular application of dialects, info, plainspoken speech, funny products to make some sort of living, some sort of living they deplored, he or she was with ashamed celo also making satiric conflict. It wasn't really this war of words and phrases announced at the fin de siècle by means of the much-feared, formidable, incontestable Karl Wellig, who was actually liable for reviving Nestroy, like a profoundly expected, deep satirical thinker, nevertheless certainly not perhaps with the Geist, a World-Spirit for Hegel, a mind-spirit for Gelockt, an honourable mastery of the Word, which Kraus said for himself, not merely apostolically, but as it is virtual métamorphose. Nor, though cameron 'd renewed him from oblivion simply by reading Nestroy's text messaging in front of a group, he certainly didn't want to see them around the theater. In opposition to often the aestheticizing of reaction, by means of the Jung-Wien and Separation, Kraus also believed that this staging of a written text defiled it, and often the purity regarding language simply because well, thus preferable to retain it away from typically the show-off virtuosity, the self-indulgence of characters. Spectacular skill could only be preserved, they insisted, simply by keeping this out of functionality. They have hard to say what exactly Nestroy might have manufactured in all this, if is actually true that he or she thought more of himself because a actor than as some sort of playwright. In that respect, no matter the rage of antitheater he might have shared with Kraus, they was nonetheless writing assignments to get themself, and whilst his own virtuosity was running aside with the text—the authority in the author leaving it behind—he had to take often the measure of where they will could be performed.