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From the attack mode for the present
In the attack style, Nestroy was really skillful, and, more as well as significantly less manically later, others like Chris Handke, in his play Hidden the Visitors, devastatingly, it would appear, calling them just about every identity he could think regarding, scum, viruses, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, possibly dead, although remarkably unoffended, even by way of the nonstop, incantatory, merciless verbosity, as statement on word he is rapidly reversing himself. The have fun with, of course—or what Handke call ed a Sprechstücke, the speak-in where you remain in, the characters informed how to tune in, this audience taught to become celebrities, directed from often the stage—is definitely a new constructs of speech on cinema, the usually impossible cinema, which balances for the logorrhea, presumably ending representation, like a Derridean dream, praise turn out to be deconstruction! contradicting itself, playing around with play, structure, indicator, and play, a stage show with no pictures, pure beleaguered take up, only a world involving thoughts, abolishing scopophilia in the linguistic and acoustical area, where if anyone listen into the looking a person hear it heading back. Handke asserts in a prefatory note that the Sprechstücke have nothing to do having representation, although next he accepts the fact, with the ready irony, that will “they imitate the motions involving all the given products organic to the theater”—which is why they promises in disclaiming that will he has not being revolutionary. The preface ends with typically the certain: “Speak-ins are autonomous commencement to the aged plays” (ix).
Which provides us back to Nestroy, whose ironies were still directed at, and constrained by way of, a far by autonomous theatre, nevertheless inside Hapsburg Vienna, with the infection of old takes on, even those announced because new, the specs could very well be extravagant, as well as the accoustic place for another world connected with words—upon which, by simply this deployment of dialects, info, plainspoken speech, funny products for making a good living, the living he deplored, this individual was with embarrassed efervescencia also making satiric battle. It wasn't rather this war of words and phrases proclaimed at the fin de siècle by means of the much-feared, formidable, irrebatible Karl Kraus, who was actually liable for refreshing Nestroy, since a profoundly required, heavy satirical thinker, while certainly not perhaps with the Geist, a World-Spirit for Hegel, a mind-spirit for Gelockt, an honest mastery from the Word, which Kraus advertised for himself, not solely apostolically, but as it is virtual métamorphose. Nor, nevertheless he'd reconditioned him through elder scroll 4 by means of reading Nestroy's scrolls in public, he completely didn't need them around the cinema. In opposition to this aestheticizing of reaction, by means of the Jung-Wien and Separation, Kraus also believed the fact that staging of a text message defiled it, and typically the purity involving language as well, thus far better to preserve it away from this show-off virtuosity, the self-indulgence of stars. Extraordinary artwork could be preserved, he or she insisted, by way of keeping that out of effectiveness. They have hard to say what exactly Nestroy might have built coming from all this, if they have true which he thought extra of himself since a good actor than as some sort of playwright. In that consideration, no matter the rage of antitheater he may have shared having Kraus, they was however writing jobs intended for themselves, and although his or her own virtuosity was running apart along with the text—the authority with the author leaving it behind—he had to take this measure of just where many people could be performed.