In the attack mode for the particular present
In chance , Nestroy was rather adept, together with, more or maybe significantly less manically later, other folks such as Chris Handke, in his or her play Offending the Visitors, devastatingly, it would turn up, calling them each title he could think associated with, scum, viruses, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, potentially dead, but remarkably unoffended, even by the nonstop, incantatory, severe verbosity, as word when word he is quickly reversing himself. The have fun, of course—or what Handke called a Sprechstücke, a new speak-in where you stay in, the celebrities told how to listen, the particular audience taught to get famous actors, directed from typically the stage—is actually a good task on cinema, the often impossible cinema, which trading accounts for the logorrhea, presumably ending representation, being a Derridean dream, praise turn out to be deconstruction! contradicting itself, experimenting along with play, structure, signal, and play, a discussion with out pictures, pure beleaguered have fun with, only a world regarding words and phrases, abolishing scopophilia within some sort of linguistic and aural living space, where if a person tune in on the looking you hear it heading back. Handke asserts in a prefatory note that the Sprechstücke have nothing to carry out with representation, yet in that case he accepts the fact, with a good ready irony, that “they imitate the actions regarding all the given devices normal to the theater”—which is why this individual claims in disclaiming the fact that he's not being revolutionary. The particular preface ends with the particular certain: “Speak-ins are independent prologues to the aged plays” (ix).
Which produces us back to Nestroy, whose ironies have been nonetheless directed at, and constrained by simply, a far through autonomous show, nevertheless in Hapsburg Vienna, with the infection of aged takes on, even those introduced as new, the specs could be extravagant, as nicely as the auricular place for another world involving words—upon which, simply by often the deployment of dialects, vocabulary, plainspoken speech, funny stuff to make the living, some sort of living this individual deplored, this individual was with ashamed celo also making satiric warfare. It wasn't really often the war of terms announced at the fin sobre siècle by means of the much-feared, formidable, innegable Karl Kraus, who was actually responsible for refreshing Nestroy, while a in a big way wanted, strong satirical thinker, although not necessarily perhaps with the Geist, a World-Spirit for Hegel, a mind-spirit for Lockig, an honourable mastery of the Word, which Kraus stated for himself, not just apostolically, but as it has the virtual incarnation. Nor, although he'd recovered him through elder scroll 4 by means of reading Nestroy's text messaging in front of a group, he totally didn't want to see them throughout the theater. Against the aestheticizing of intuition, by way of the Jung-Wien and Secession, Kraus also believed the staging of a text message defiled it, and often the purity regarding language such as well, thus easier to retain it away from often the show-off virtuosity, the self-indulgence of celebrities. Remarkable fine art could only be preserved, they insisted, by way of keeping this out of performance. It can hard to say just what Nestroy might have made of most this, if it's true he thought even more of himself as an actor than as the playwright. In that respect, no matter what rage of antitheater he may have shared using Kraus, they was nevertheless writing roles to get themself, and when his personal virtuosity was running away from you along with the text—the authority with the author leaving it behind—he had to take the particular measure of where they will could be performed.