In the attack function, Nestroy was really efficient, together with, more or perhaps significantly less manically later, other people such as Andrew d Handke, in his or her play Hidden the Audience, devastatingly, it would look, call ing them just about every label he could think of, scum, worms, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, likely dead, although remarkably unoffended, even by way of the nonstop, incantatory, merciless verbosity, as statement when word he is shortly reversing himself. The take up, of course—or what Handke called a Sprechstücke, a new speak-in where you stay in, typically the actors informed how to hear, often the audience taught to become stars, directed from the particular stage—is actually a discourse on theatre, the generally impossible cinema, which accounts for the logorrhea, doubtless ending representation, similar to a Derridean dream, praise turn out to be deconstruction! contradicting itself, playing around with play, structure, indicator, plus play, a vision devoid of pictures, pure beleaguered have fun, only a world associated with words, abolishing scopophilia throughout some sort of linguistic and auricular area, where if an individual listen closely into the looking an individual hear it heading back. Handke asserts in the prefatory note that the Sprechstücke have nothing to accomplish with representation, although after that he accepts the fact, with a new ready irony, that “they imitate the actions involving all the given devices all natural to the theater”—which is why this individual boasts in dis claim ing of which he's not being revolutionary. This preface ends with this certain: “Speak-ins are autonomous exorde to the old plays” (ix).
Which produces us back to Nestroy, whose ironies have been still directed at, and limited simply by, a far via autonomous movie theater, even though in Hapsburg Vienna, with a good infection of previous takes on, even those announced as new, the glasses could be extravagant, as effectively as the accoustic room for another world regarding words—upon which, by way of often the deployment of dialects, info, plainspoken speech, funny goods to create some sort of living, a new living this individual deplored, he or she was with disgusted fervor also making satiric war. It wasn't pretty typically the war of words announced at the fin de siècle simply by the much-feared, formidable, innegable Karl Lockig, who was actually in charge for reviving Nestroy, as a in a big way expected, heavy satirical thinker, although not really perhaps with the Geist, a World-Spirit for Hegel, a mind-spirit for Gewellt, an honest mastery with the Word, which Kraus said for himself, not merely apostolically, but as its exclusive métamorphose. Nor, even though he'd reconditioned him from elder scroll 4 by simply reading Nestroy's texts in front of a group, he definitely didn't be interested in them throughout the movie theater. In opposition to this aestheticizing of reaction, by the Jung-Wien and Separation, Kraus also believed how the staging of a text message defiled it, and often the purity of language as well, thus far better to continue to keep it away from typically the show-off virtuosity, the self-indulgence of celebrities. Spectacular fine art could just be preserved, he or she insisted, by simply keeping the idea out of functionality. Is actually hard to say precisely what Nestroy may possibly have made coming from all this, if they have true that he or she thought more of himself because a good actor than as a playwright. In that context, whatever the rage of antitheater he may have shared with Kraus, he or she was nevertheless writing jobs to get themselves, and even though his personal virtuosity was running aside using the text—the authority of the author leaving it behind—he had to take the measure of where they could be performed.