Within the attack mode for the particular present

In the attack mode, Nestroy was rather proficient, together with, more or maybe not as much manically later, other people such as Andrew d Handke, in the play Annoying the Audience, devastatingly, it would turn up, calling them just about every title he could think of, scum, viruses, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, possibly dead, but remarkably unoffended, even by the nonstop, incantatory, merciless verbosity, as phrase about word he is before long reversing himself. The car ry out, of course—or what Handke called a Sprechstücke, some sort of speak-in where you stay in, the particular actors told how to listen, often the audience taught to get famous actors, directed from often the stage—is definitely a task on show, the usually impossible movie theater, which records for the logorrhea, most probably ending representation, similar to a Derridean dream, praise turn out to be deconstruction! contradicting itself, experimenting having play, structure, indication, and play, a décor without having pictures, pure beleaguered play, only a world associated with words and phrases, abolishing scopophilia within a linguistic and aural place, where if a person listen closely on the looking a person hear it heading back. Handke asserts in some sort of prefatory note that the Sprechstücke have nothing to do using representation, but then he confesses, with a ready irony, that “they imitate the motions involving all the given products natural to the theater”—which is why this individual states in disclaiming the fact that he's not being revolutionary. Often the preface ends with this conclusive: “Speak-ins are independent prologues to the old plays” (ix).
Which gives us back to Nestroy, whose ironies were being still directed at, and limited by means of, a far by autonomous theater, while in Hapsburg Vienna, with a good infection of old works, even those announced while new, the eyeglasses may be extravagant, as nicely as the ultrasonic space for another world regarding words—upon which, by means of the application of dialects, vocabulary, plainspoken speech, funny products for making the living, a good living he deplored, he / she was with embarrassed efervescencia also making satiric struggle. It wasn't pretty typically the war of words announced at the fin de siècle by way of the much-feared, formidable, concluyente Karl Kraus, who was actually responsible for refreshing Nestroy, like a greatly required, full satirical thinker, even though certainly not perhaps with the Geist, a World-Spirit for Hegel, a mind-spirit for Lockig, an ethical mastery with the Word, which Kraus believed for himself, not merely apostolically, but as it is online métamorphose. Nor, nevertheless he'd renewed him through oblivion by simply reading Nestroy's text messaging in front of a group, he completely didn't need them within the theater. Against this aestheticizing of reaction, by simply the Jung-Wien and Separation, Kraus also believed that the staging of a written text defiled it, and the particular purity regarding language simply because well, thus far better to retain it away from often the show-off virtuosity, the self-indulgence of stars. Spectacular fine art could just be preserved, he insisted, by way of keeping the idea out of functionality. It's hard to say what Nestroy might have manufactured of this, if they have true that he or she thought even more of himself because the actor than as a good playwright. In that context, regardless of the rage of antitheater he may have shared along with Kraus, he or she was even now writing assignments with regard to themselves, and although his or her own virtuosity was running aside together with the text—the authority of the author leaving it behind—he had to take typically the measure of exactly where these people could be performed.