Within the attack mode for the present
In the attack method, Nestroy was very efficient, plus, more or maybe much less manically later, other folks similar to Philip Handke, in their play Annoying the Visitors, devastatingly, it would turn up, calling them any label he could think regarding, scum, earthworms, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, potentially dead, but remarkably unoffended, even by simply the nonstop, incantatory, severe verbosity, as expression after word he is shortly reversing himself. The take up, of course—or what Handke called a Sprechstücke, some sort of speak-in where you sit down in, typically the famous actors explained to how to pay attention, often the audience taught to end up being characters, directed from the particular stage—is really a new constructs of speech on show, the generally impossible theatre, which company accounts for the logorrhea, doubtless ending representation, being a Derridean dream, praise get deconstruction! contradicting itself, playing around together with play, structure, indicator, and play, a discussion devoid of pictures, pure beleaguered carry out, only a world of phrases, abolishing scopophilia around the linguistic and accoustic place, where if anyone listen closely to the looking anyone hear it coming back. Handke asserts in a new prefatory note that the Sprechstücke have nothing to carry out along with representation, nonetheless next he admits, with some sort of ready irony, the fact that “they imitate the gestures connected with all the given units normal to the theater”—which is why they claims in disclaiming that he is not being revolutionary. The preface ends with often the defined: “Speak-ins are independent prologues to the previous plays” (ix).
Which produces us back to Nestroy, whose ironies ended up still directed at, and restricted by way of, a far coming from autonomous show, though throughout Hapsburg Vienna, with a good infection of previous runs, even those introduced since new, the cups may possibly be extravagant, as nicely as the aural living space for another world connected with words—upon which, by way of typically the application of dialects, info, plainspoken speech, funny products to generate a new living, a good living he / she deplored, they was with ashamed celo also making satiric war. It wasn't really typically the war of terms proclaimed at the fin via siècle simply by the much-feared, formidable, innegable Karl Wellig, who was actually accountable for refreshing Nestroy, as a profoundly expected, deep satirical thinker, even though definitely not perhaps with the Geist, a World-Spirit for Hegel, a mind-spirit for Gelockt, an ethical mastery from the Word, which Kraus claimed for himself, not merely apostolically, but as their virtual métamorphose. Nor, even though he'd renewed him through oblivion by way of reading Nestroy's text messaging in front of a group, he totally didn't need them inside the cinema. Opposed to this aestheticizing of thought, by means of the Jung-Wien and Separation, Kraus also believed that the staging of a text defiled it, and the particular purity associated with language as well, thus better to maintain it away from the show-off virtuosity, the self-indulgence of famous actors. Remarkable skill could just be preserved, he insisted, by way of keeping the idea out of functionality. Is actually hard to say what exactly Nestroy may well have manufactured coming from all this, if it's true that he or she thought whole lot more of himself while a great actor than as the playwright. In that respect, long lasting rage of antitheater he might have shared along with Kraus, they was nonetheless writing assignments regarding him self, and although his own virtuosity was running away from together with the text—the authority of the author leaving it behind —he had to take this measure of wherever these people could be performed.