Inside attack mode for the present
In the attack method, Nestroy was quite skillful, and even, more or perhaps less manically later, other folks like Chris Handke, in their play Offending the Target audience, devastatingly, it would look, calling them each label he could think of, scum, worms, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, potentially dead, although remarkably unoffended, even by the nonstop, incantatory, severe verbosity, as word when word he is soon reversing himself. The have fun, of course—or what Handke called a Sprechstücke, some sort of speak-in where you remain in, typically the stars instructed how to tune in, this audience taught to become celebrities, directed from typically the stage—is actually a discourse on theater, the often impossible theater, which trading accounts for the logorrhea, most probably ending representation, like a Derridean dream, praise get deconstruction! contradicting itself, experimenting along with play, structure, indicator, plus play, a décor without having pictures, pure beleaguered play, only a world of terms, abolishing scopophilia around some sort of linguistic and aural place, where if a person pay attention towards the looking a person hear it rebounding. Handke asserts in a good prefatory note that the Sprechstücke have nothing to carry out with representation, yet in that case he admits, with a good ready irony, that “they imitate the signals involving all the given equipment healthy to the theater”—which is why he claims in disclaiming the fact that she has not being revolutionary. Often the preface ends with typically the defined: “Speak-ins are independent prologues to the previous plays” (ix).
Which produces us back to Nestroy, whose ironies have been nonetheless directed at, and restricted simply by, a far via autonomous cinema, nevertheless around Hapsburg Vienna, with a infection of old has, even those declared like new, the cups could very well be extravagant, as properly as the acoustical room for another world involving words—upon which, by this application of dialects, lingo, plainspoken speech, funny things to create some sort of living, a living they deplored, he was with disgusted efervescencia also making satiric struggle. It wasn't rather often the war of words reported at the fin para siècle by simply the much-feared, formidable, incontestable Karl Kraus, who was actually accountable for refreshing Nestroy, like a in a big way wanted, strong satirical thinker, even though certainly not perhaps with the Geist, a World-Spirit for Hegel, a mind-spirit for Wellig, an lawful mastery of the Word, which Kraus claimed for himself, not just apostolically, but as it is electronic métamorphose. Nor, though he'd refurbished him through oblivion by way of reading Nestroy's texts in front of a group, he certainly didn't be interested in them throughout the show. Against this aestheticizing of intuition, by the Jung-Wien and Separation, Kraus also believed the fact that staging of a textual content defiled it, and the particular purity involving language such as well, thus preferable to continue to keep it away from the particular show-off virtuosity, the self-indulgence of stars. Impressive art could only be preserved, this individual insisted, by simply keeping it out of performance. Really hard to say what exactly Nestroy may well have manufactured of this, if it's true that they thought whole lot more of himself as a actor than as a good playwright. In character , long lasting rage of antitheater he may have shared having Kraus, he / she was however writing roles to get themselves, and while his very own virtuosity was running aside having the text—the authority in the author leaving it behind—he had to take this measure of in which they will could be performed.