Inside the attack mode for the present
In the attack style, Nestroy was rather efficient, and, more as well as not as much manically later, other individuals like Andrew d Handke, in their play Offending the Target audience, devastatingly, it would turn up, calling them every single identity he could think connected with, scum, red wigglers, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, potentially dead, nevertheless remarkably unoffended, even simply by the nonstop, incantatory, severe verbosity, as statement about word he is rapidly reversing himself. The have fun, of course—or what Handke called a Sprechstücke, a new speak-in where you take a seat in, this celebrities advised how to hear, this audience taught to get famous actors, directed from the stage—is genuinely some sort of constructs of speech on cinema, the constantly impossible theatre, which accounts for the logorrhea, possibly ending representation, like a Derridean dream, praise become deconstruction! contradicting itself, playing around having play, structure, signal, and play, a discussion with no pictures, pure beleaguered play, only a world involving words, abolishing scopophilia within a good linguistic and acoustical room, where if an individual listen into the looking you hear it coming back again. Handke asserts in a prefatory note that the Sprechstücke have nothing to perform with representation, but then he confesses, with some sort of ready irony, that will “they imitate the motions connected with all the given devices healthy to the theater”—which is why he promises in disclaiming the fact that he is not being revolutionary. The preface ends with often the certain: “Speak-ins are independent annonce to the old plays” (ix).
Which gives us back to Nestroy, whose ironies had been nonetheless directed at, and constrained simply by, a far via autonomous theatre, nevertheless around Hapsburg Vienna, with a great infection of older works, even those announced as new, the glasses could very well be extravagant, as well as the accoustic room for another world connected with words—upon which, by simply this application of dialects, info, plainspoken speech, funny things to create a good living, a living they deplored, this individual was with embarrassed calor also making satiric war. It wasn't pretty this war of phrases proclaimed at the fin sobre siècle by way of the much-feared, formidable, concluyente Karl Lockig, who was actually accountable for reviving Nestroy, like a profoundly wanted, deep satirical thinker, while certainly not perhaps with the Geist, a World-Spirit for Hegel, a mind-spirit for Wellig, an ethical mastery in the Word, which Kraus believed for himself, not just apostolically, but as the exclusive métamorphose. Nor, although he'd recovered him through oblivion by reading Nestroy's texts in public places, he definitely didn't need them within the movie theater. Opposed to often the aestheticizing of impulse, by way of the Jung-Wien and Secession, Kraus also believed that the staging of a written text defiled it, and this purity involving language just as well, thus easier to keep it away from often the show-off virtuosity, the self-indulgence of famous actors. Prime could be preserved, he / she insisted, by means of keeping it out of performance. Is actually hard to say just what Nestroy may possibly have made of all this, if they have true that he thought more of himself since a actor than as some sort of playwright. In that consideration, long lasting rage of antitheater he may have shared along with Kraus, this individual was nonetheless writing roles intended for him or her self, and while his personal virtuosity was running away from you together with the text—the authority with the author leaving it behind—he had to take often the measure of wherever these people could be performed.
