In the attack method, Nestroy was pretty experienced, together with, more or perhaps not as much manically later, other people similar to Peter Handke, in the play Offending the Market, devastatingly, it would seem, calling them every brand he could think associated with, scum, viruses, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, likely dead, nevertheless remarkably unoffended, even by way of the nonstop, incantatory, merciless verbosity, as term after word he is shortly reversing himself. The have fun, of course—or what Handke called a Sprechstücke, a new speak-in where you sit down in, often the celebrities advised how to hear, often the audience taught to be actors, directed from this stage—is actually some sort of constructs of speech on movie theater, the generally impossible theater, which trading accounts for the logorrhea, most probably ending representation, just like a Derridean dream, praise be deconstruction! contradicting itself, playing around together with play, structure, indication, plus play, a stage show devoid of pictures, pure beleaguered play, only a world associated with phrases, abolishing scopophilia throughout the linguistic and ultrasonic living space, where if you pay attention on the looking an individual hear it returning. Handke asserts in a good prefatory note that the Sprechstücke have nothing to perform having representation, yet then he accepts the fact, with some sort of ready irony, that “they imitate the signals of all the given products normal to the theater”—which is why he states in disclaiming the fact that he is not being revolutionary. This preface ends with the certain: “Speak-ins are autonomous annonce to the older plays” (ix).
Which brings us back to Nestroy, whose ironies were being nevertheless directed at, and limited by way of, a far via autonomous cinema, although within Hapsburg Vienna, with a infection of older runs, even those released because new, the cups could very well be extravagant, as nicely as the ultrasonic space for another world connected with words—upon which, by way of often the deployment of dialects, jargon, plainspoken speech, funny stuff to generate a good living, the living he / she deplored, he was with disgusted calor also making satiric war. It wasn't rather the particular war of terms proclaimed at the fin de siècle by the much-feared, formidable, irrebatible Karl Lockig, who was actually responsible for refreshing Nestroy, while a in a big way wanted, heavy satirical thinker, while not really perhaps with the Geist, a World-Spirit for Hegel, a mind-spirit for Gewellt, an honourable mastery of the Word, which Kraus advertised for himself, not only apostolically, but as it is exclusive métamorphose. Nor, although http://fastrubbish.co.uk
'd refurbished him via oblivion by way of reading Nestroy's texts in public areas, he totally didn't want to see them within the movie theater. In opposition to the aestheticizing of intuition, simply by the Jung-Wien and Secession, Kraus also believed the staging of a textual content defiled it, and the purity involving language mainly because well, thus far better to maintain it away from typically the show-off virtuosity, the self-indulgence of celebrities. Dramatic artwork could only be preserved, he / she insisted, by simply keeping this out of efficiency. It's hard to say what exactly Nestroy may possibly have made of this, if really true which he thought extra of himself because a great actor than as a playwright. In that view, no matter the rage of antitheater he might have shared having Kraus, he / she was still writing functions regarding themself, and when their own virtuosity was running away from with the text—the authority of the author leaving it behind—he had to take the particular measure of just where that they could be performed.