Inside the attack mode for the present
In the attack setting, Nestroy was really adept, together with, more or even much less manically later, some others such as Andrew d Handke, in his play Annoying the Audience, devastatingly, it would appear, calling them every label he could think involving, scum, earthworms, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, probably dead, although remarkably unoffended, even by way of the nonstop, incantatory, severe verbosity, as phrase after word he is rapidly reversing himself. The have fun with, of course—or what Handke called a Sprechstücke, a new speak-in where you stay in, the particular famous actors told how to pay attention, the audience taught to turn out to be stars, directed from the stage—is genuinely the discourse on show, the usually impossible movie theater, which records for the logorrhea, presumably ending representation, such as a Derridean dream, praise become deconstruction! contradicting itself, experimenting with play, structure, indicator, and even play, a spectacle devoid of pictures, pure beleaguered have fun, only a world connected with terms, abolishing scopophilia in some sort of linguistic and auricular area, where if an individual tune in for the looking a person hear it coming back. child asserts in the prefatory note that the Sprechstücke have nothing to do having representation, yet subsequently he confesses, with some sort of ready irony, that will “they imitate the signals of all the given gadgets normal to the theater”—which is why they claims in disclaiming that your dog is not being revolutionary. The preface ends with the particular definitive: “Speak-ins are independent annonce to the older plays” (ix).
Which provides us back to Nestroy, whose ironies have been nevertheless directed at, and limited simply by, a far via autonomous cinema, though inside Hapsburg Vienna, with a great infection of old takes on, even those introduced since new, the spectacles could very well be extravagant, as well as the auricular space for another world connected with words—upon which, by means of the deployment of dialects, lingo, plainspoken speech, funny goods to generate a living, a living he or she deplored, he or she was with ashamed efervescencia also making satiric warfare. It wasn't rather the particular war of thoughts stated at the fin sobre siècle by the much-feared, formidable, indisputable Karl Gewellt, who was actually accountable for refreshing Nestroy, because a profoundly needed, deep satirical thinker, even though not really perhaps with the Geist, a World-Spirit for Hegel, a mind-spirit for Wellig, an moral mastery in the Word, which Kraus said for himself, not merely apostolically, but as it has the online métamorphose. Nor, nevertheless he'd restored him coming from elder scroll 4 by means of reading Nestroy's text messaging in public, he completely didn't need them within the cinema. Against this aestheticizing of thought, simply by the Jung-Wien and Separation, Kraus also believed that this staging of a textual content defiled it, and the purity involving language just as well, thus better to maintain it away from this show-off virtuosity, the self-indulgence of famous actors. Dramatic art could be preserved, he or she insisted, by keeping that out of functionality. It can hard to say what Nestroy might have manufactured in all this, if is actually true that they thought additional of himself since the actor than as a playwright. In that context, no matter what rage of antitheater he may have shared having Kraus, this individual was nonetheless writing assignments intended for him or her self, and even though his own virtuosity was running away together with the text—the authority in the author leaving it behind—he had to take the particular measure of in which they could be performed.