In the attack setting, Nestroy was very skillful, and even, more or perhaps less manically later, other individuals such as Philip Handke, in his or her play Annoying the Visitors, devastatingly, it would show up, calling them just about every title he could think connected with, scum, red wigglers, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, potentially dead, yet remarkably unoffended, even by way of the nonstop, incantatory, severe verbosity, as phrase upon word he is shortly reversing himself. The play, of course—or what Handke called a Sprechstücke, a good speak-in where you take a seat in, the particular famous actors explained to how to pay attention, often the audience taught to get stars, directed from the stage—is seriously a task on theater, the always impossible cinema, which trading accounts for the logorrhea, possibly ending representation, like a Derridean dream, praise end up being deconstruction! contradicting itself, experimenting with play, structure, sign, together with play, a stage show with out pictures, pure beleaguered take up, only a world regarding phrases, abolishing scopophilia throughout a new linguistic and ultrasonic living space, where if you hear on the looking you hear it rebounding. Handke asserts in a good prefatory note that the Sprechstücke have nothing to carry out together with representation, yet then he accepts the fact, with a ready irony, that “they imitate the signals associated with all the given units healthy to the theater”—which is why he / she claims in disclaiming the fact that he has not being revolutionary. This preface ends with the conclusive: “Speak-ins are independent commencement to the old plays” (ix).
Which brings civil to Nestroy, whose ironies had been still directed at, and limited by means of, a far from autonomous movie theater, even though within Hapsburg Vienna, with a infection of previous takes on, even those released like new, the glasses could very well be extravagant, as effectively as the ultrasonic place for another world associated with words—upon which, by means of the deployment of dialects, jargon, plainspoken speech, funny stuff to generate a new living, a new living this individual deplored, he / she was with disgusted veneración also making satiric battle. It wasn't rather often the war of thoughts proclaimed at the fin via siècle by way of the much-feared, formidable, irrebatible Karl Lockig, who was actually responsible for refreshing Nestroy, like a profoundly expected, serious satirical thinker, while not necessarily perhaps with the Geist, a World-Spirit for Hegel, a mind-spirit for Kraus, an honourable mastery from the Word, which Kraus stated for himself, not solely apostolically, but as the electronic incarnation. Nor, though he'd recovered him from elder scroll 4 by means of reading Nestroy's text messages in public places, he totally didn't want to see them inside the theater. Opposed to this aestheticizing of intuition, simply by the Jung-Wien and Secession, Kraus also believed the staging of a textual content defiled it, and the purity of language as well, thus better to continue to keep it away from this show-off virtuosity, the self-indulgence of stars. Impressive fine art could be preserved, they insisted, by means of keeping this out of efficiency. Is actually hard to say just what Nestroy may possibly have made coming from all this, if really true that they thought extra of himself while a actor than as a playwright. In that consideration, no matter what rage of antitheater he may have shared with Kraus, he or she was nevertheless writing jobs to get him self, and although his personal virtuosity was running apart with the text—the authority in the author leaving it behind—he had to take the measure of where they could be performed.