Within the attack mode for this present
In the attack method, Nestroy was very adept, together with, more or less manically later, others similar to Andrew d Handke, in his play Hidden the Visitors, devastatingly, it would look, calling them just about every label he could think of, scum, red wigglers, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, likely dead, although remarkably unoffended, even by the nonstop, incantatory, severe verbosity, as term when word he is soon reversing himself. The have fun with, of course—or what Handke called a Sprechstücke, a new speak-in where you remain in, typically the celebrities explained to how to listen, often the audience taught to be celebrities, directed from often the stage—is genuinely a good constructs of speech on show, the often impossible theater, which company accounts for the logorrhea, presumably ending representation, like a Derridean dream, praise turn out to be deconstruction! contradicting itself, playing around having play, structure, indicator, together with play, a vision with out pictures, pure beleaguered carry out, only a world of phrases, abolishing scopophilia within the linguistic and accoustic space, where if an individual listen to the looking a person hear it returning. Handke asserts in a good prefatory note that the Sprechstücke have nothing to do having representation, although next he confesses, with the ready irony, that “they imitate the gestures of all the given equipment normal to the theater”—which is why he or she says in disclaiming that will your dog is not being revolutionary. Typically the preface ends with this conclusive: “Speak-ins are autonomous prologue to the older plays” (ix).
Which delivers us back to Nestroy, whose ironies had been nonetheless directed at, and constrained by way of, a far through autonomous cinema, even though within Hapsburg Vienna, with the infection of old has, even those announced like new, the cups can be extravagant, as nicely as the acoustical living space for another world regarding words—upon which, by simply the application of dialects, jargon, plainspoken speech, funny products to create some sort of living, the living they deplored, he was with disgusted celo also making satiric warfare. It wasn't pretty often the war of thoughts declared at the fin via siècle by way of the much-feared, formidable, innegable Karl Kraus, who was actually accountable for reviving Nestroy, like a greatly required, serious satirical thinker, even though certainly not perhaps with the Geist, a World-Spirit for Hegel, a mind-spirit for Gelockt, an honest mastery on the Word, which Kraus advertised for himself, not only apostolically, but as the exclusive métamorphose. Nor, though he'd restored him coming from elder scroll 4 by means of reading Nestroy's scrolls to a crowd, he certainly didn't need them around the cinema. In campaign to often the aestheticizing of thought, by simply the Jung-Wien and Separation, Kraus also believed the staging of a text message defiled it, and typically the purity associated with language mainly because well, thus far better to continue to keep it away from the show-off virtuosity, the self-indulgence of characters. Impressive art could be preserved, this individual insisted, by keeping that out of performance. It's hard to say precisely what Nestroy may well have designed coming from all this, if is actually true that he thought more of himself while the actor than as the playwright. In that respect, whatever the rage of antitheater he might have shared having Kraus, he / she was still writing roles regarding themselves, and even though his or her own virtuosity was running apart having the text—the authority of the author leaving it behind—he had to take the particular measure of in which that they could be performed.