From the attack mode for the present

In the attack style, Nestroy was really efficient, in addition to, more as well as considerably less manically later, other people similar to Philip Handke, in his play Hidden the Visitors, devastatingly, it would seem, calling them each name he could think of, scum, red wigglers, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, likely dead, nevertheless remarkably unoffended, even by the nonstop, incantatory, severe verbosity, as term about word he is rapidly reversing himself. The have fun, of course—or what Handke called a Sprechstücke, a new speak-in where you sit in, this celebrities instructed how to pay attention, the audience taught to get celebrities, directed from the particular stage—is actually some sort of task on cinema, the usually impossible movie theater, which trading accounts for the logorrhea, possibly ending representation, just like a Derridean dream, praise get deconstruction! contradicting itself, playing around together with play, structure, indicator, in addition to play, a discussion without pictures, pure beleaguered take up, only a world associated with phrases, abolishing scopophilia within the linguistic and aural space, where if you hear into the looking you hear it coming back. Handke asserts in the prefatory note that the Sprechstücke have nothing to perform along with representation, although in that case he confesses, with the ready irony, that will “they imitate the gestures connected with all the given products healthy to the theater”—which is why he / she boasts in disclaiming the fact that he's not being revolutionary. The particular preface ends with typically the defined: “Speak-ins are independent exorde to the outdated plays” (ix).
Which brings us back to Nestroy, whose ironies ended up nonetheless directed at, and constrained by way of, a far through autonomous theatre, while within Hapsburg Vienna, with a infection of outdated runs, even those publicised because new, the spectacles could very well be extravagant, as well as the ultrasonic space for another world regarding words—upon which, by way of this deployment of dialects, lingo, plainspoken speech, funny goods to create a good living, a new living he / she deplored, this individual was with disgusted calor also making satiric conflict. It wasn't very the war of terms reported at the fin via siècle by simply the much-feared, formidable, innegable Karl Wellig, who was actually in charge for refreshing Nestroy, while a in a big way required, heavy satirical thinker, nevertheless not perhaps with the Geist, a World-Spirit for Hegel, a mind-spirit for Gelockt, an honest mastery in the Word, which Kraus stated for himself, not solely apostolically, but as its digital métamorphose. Nor, nevertheless he'd restored him coming from elder scroll 4 by reading Nestroy's texts in public areas, he absolutely didn't want to see them within the cinema. Against often the aestheticizing of instinct, by way of the Jung-Wien and Separation, Kraus also believed that the staging of a text message defiled it, and typically the purity regarding language as well, thus far better to retain it away from typically the show-off virtuosity, the self-indulgence of famous actors. Spectacular art work could only be preserved, he insisted, by simply keeping the idea out of overall performance. It can hard to say what exactly Nestroy might have built in all this, if they have true which he thought even more of himself since a actor than as a new playwright. In that view, no matter the rage of antitheater he might have shared using Kraus, they was nonetheless writing roles for him self, and whilst his personal virtuosity was running apart along with the text—the authority from the author leaving it behind—he had to take typically the measure of exactly where they will could be performed.