Inside attack mode for the particular present
In the attack function, Nestroy was quite experienced, plus, more or even significantly less manically later, other individuals just like Philip Handke, in his play Hidden the Viewers, devastatingly, it would show up, calling them each label he could think regarding, scum, viruses, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, possibly dead, but remarkably unoffended, even by way of the nonstop, incantatory, severe verbosity, as term on 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 take a seat in, typically the celebrities told how to hear, typically the audience taught to end up being actors, directed from typically the stage—is definitely a new constructs of speech on theatre, the always impossible cinema, which balances for the logorrhea, presumably ending representation, just like a Derridean dream, praise become deconstruction! contradicting itself, playing around along with play, structure, indicator, plus play, a stage show with no pictures, pure beleaguered have fun, only a world involving thoughts, abolishing scopophilia in a good linguistic and auricular space, where if a person listen on the looking anyone hear it returning. Handke asserts in the prefatory note that the Sprechstücke have nothing to perform using representation, although then he admits, with a ready irony, that will “they imitate the motions involving all the given gadgets healthy to the theater”—which is why he says in disclaiming the fact that she has not being revolutionary. The particular preface ends with often the ultimate: “Speak-ins are independent prologue to the aged plays” (ix).
Which delivers us back to Nestroy, whose ironies were however directed at, and limited by simply, a far through autonomous movie theater, even though around Hapsburg Vienna, with an infection of old works, even those declared like new, the cups may be extravagant, as well as the auricular place for another world involving words—upon which, by means of typically the application of dialects, vocabulary, plainspoken speech, funny stuff to generate the living, the living he / she deplored, this individual was with ashamed celo also making satiric war. It wasn't really the particular war of words and phrases reported at the fin de siècle by way of the much-feared, formidable, indisputable Karl Wellig, who was actually dependable for reviving Nestroy, because a profoundly required, heavy satirical thinker, even though not necessarily perhaps with the Geist, a World-Spirit for Hegel, a mind-spirit for Gelockt, an honourable mastery on the Word, which Kraus said for himself, not only apostolically, but as its electronic métamorphose. Nor, even though B.A.N.P. 'd reconditioned him from oblivion by means of reading Nestroy's texts in public places, he definitely didn't want to see them around the show. Opposed to the aestheticizing of intuition, by the Jung-Wien and Separation, Kraus also believed the fact that staging of a textual content defiled it, and typically the purity of language such as well, thus far better to retain it away from often the show-off virtuosity, the self-indulgence of actors. Extraordinary skill could be preserved, this individual insisted, by simply keeping this out of functionality. It can hard to say just what Nestroy may well have made in all this, if really true he thought additional of himself because the actor than as a playwright. In that respect, whatever the rage of antitheater he may have shared with Kraus, he was even now writing assignments intended for himself, and when their own virtuosity was running away from you using the text—the authority of the author leaving it behind—he had to take this measure of exactly where many people could be performed.
