From the attack mode for often the present
In the attack function, Nestroy was very skillful, in addition to, more as well as significantly less manically later, some others such as Peter Handke, in the play Annoying the Market, devastatingly, it would show up, calling them just about every brand he could think connected with, scum, red worms, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, probably dead, although remarkably unoffended, even simply by the nonstop, incantatory, severe verbosity, as expression on word he is rapidly reversing himself. The carry out, of course—or what Handke called a Sprechstücke, some sort of speak-in where you sit in, often the famous actors advised how to pay attention, this audience taught to turn out to be characters, directed from the particular stage—is seriously some sort of talk on theatre, the generally impossible theatre, which accounts for the logorrhea, possibly ending representation, like a Derridean dream, praise be deconstruction! contradicting itself, experimenting along with play, structure, sign, and even play, a décor with no pictures, pure beleaguered take up, only a world of words and phrases, abolishing scopophilia within a linguistic and acoustical place, where if an individual tune in into the looking a person hear it coming back again. billion asserts in the prefatory note that the Sprechstücke have nothing to carry out having representation, although then he admits, with a new ready irony, that will “they imitate the actions involving all the given devices normal to the theater”—which is why he promises in disclaiming that he's not being revolutionary. Typically the preface ends with the ultimate: “Speak-ins are autonomous prologues to the old plays” (ix).
Which produces us back to Nestroy, whose ironies were still directed at, and constrained simply by, a far from autonomous movie theater, nevertheless in Hapsburg Vienna, with the infection of aged plays, even those declared while new, the glasses could be extravagant, as well as the accoustic place for another world connected with words—upon which, by means of typically the deployment of dialects, jargon, plainspoken speech, funny goods to produce a new living, a living they deplored, he was with embarrassed celo also making satiric warfare. It wasn't really this war of phrases declared at the fin sobre siècle simply by the much-feared, formidable, indisputable Karl Gelockt, who was actually accountable for refreshing Nestroy, like a in a big way desired, full satirical thinker, nevertheless not really perhaps with the Geist, a World-Spirit for Hegel, a mind-spirit for Kraus, an honest mastery of the Word, which Kraus claimed for himself, not just apostolically, but as it has the online incarnation. Nor, although he'd refurbished him coming from elder scroll 4 by way of reading Nestroy's texts in public, he totally didn't need them around the cinema. Against often the aestheticizing of impulse, by means of the Jung-Wien and Secession, Kraus also believed the fact that staging of a text defiled it, and typically the purity associated with language just as well, thus better to retain it away from typically the show-off virtuosity, the self-indulgence of characters. Impressive art work could be preserved, he / she insisted, by means of keeping the idea out of performance. Is actually hard to say exactly what Nestroy may have built of all this, if is actually true that he or she thought whole lot more of himself as a good actor than as some sort of playwright. In that regard, regardless of the rage of antitheater he might have shared using Kraus, they was still writing jobs regarding themself, and when their own virtuosity was running apart together with the text—the authority with the author leaving it behind—he had to take the measure of exactly where that they could be performed.