In the attack setting, Nestroy was really efficient, together with, more as well as not as much manically later, other folks like Chris Handke, in the play Annoying the Market, devastatingly, it would look, calling them every single brand he could think connected with, scum, red worms, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, potentially dead, nevertheless remarkably unoffended, even by means of the nonstop, incantatory, merciless verbosity, as statement when word he is quickly reversing himself. http://africanmangox.co.uk
have fun with, of course—or what Handke called a Sprechstücke, the speak-in where you take a seat in, the celebrities advised how to listen, the audience taught to be celebrities, directed from the particular stage—is actually a task on theatre, the generally impossible movie theater, which records for the logorrhea, presumably ending representation, like a Derridean dream, praise turn out to be deconstruction! contradicting itself, experimenting having play, structure, indication, and even play, a stage show with out pictures, pure beleaguered play, only a world of words, abolishing scopophilia inside some sort of linguistic and aural place, where if a person hear to the looking a person hear it coming back again. Handke asserts in a new prefatory note that the Sprechstücke have nothing to do with representation, yet in that case he accepts the fact, with a good ready irony, of which “they imitate the signals associated with all the given equipment healthy to the theater”—which is why they says in disclaiming that he is not being revolutionary. Typically the preface ends with often the ultimate: “Speak-ins are independent prologue to the outdated plays” (ix).
Which gives us back to Nestroy, whose ironies were being nonetheless directed at, and restricted by means of, a far coming from autonomous cinema, even though throughout Hapsburg Vienna, with a infection of old has, even those announced while new, the specs may possibly be extravagant, as well as the auricular living space for another world involving words—upon which, by way of typically the deployment of dialects, vocabulary, plainspoken speech, funny things to make a living, a new living they deplored, they was with disgusted efervescencia also making satiric struggle. It wasn't really the war of thoughts proclaimed at the fin de siècle by means of the much-feared, formidable, indisputable Karl Wellig, who was actually in charge for refreshing Nestroy, as a greatly wanted, full satirical thinker, while not really perhaps with the Geist, a World-Spirit for Hegel, a mind-spirit for Kraus, an ethical mastery from the Word, which Kraus believed for himself, not simply apostolically, but as the electronic métamorphose. Nor, though he'd renewed him via oblivion by way of reading Nestroy's text messages in public, he certainly didn't want to see them throughout the movie theater. Opposed to this aestheticizing of reaction, simply by the Jung-Wien and Separation, Kraus also believed the fact that staging of a text defiled it, and the particular purity associated with language such as well, thus easier to maintain it away from typically the show-off virtuosity, the self-indulgence of characters. Spectacular art could only be preserved, this individual insisted, by means of keeping it out of functionality. Is actually hard to say just what Nestroy may possibly have manufactured coming from all this, if it's true that he thought whole lot more of himself because an actor than as a playwright. In that regard, whatever the rage of antitheater he might have shared along with Kraus, he / she was nonetheless writing tasks intended for him or her self, and while his or her own virtuosity was running away with the text—the authority with the author leaving it behind—he had to take the particular measure of exactly where many people could be performed.