In the attack mode for this present

In the attack mode for this present

In the attack style, Nestroy was very proficient, in addition to, more or maybe less manically later, some others similar to Philip Handke, in the play Hidden the Audience, devastatingly, it would seem, calling them any brand he could think connected with, scum, earthworms, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, probably dead, nonetheless remarkably unoffended, even simply by the nonstop, incantatory, severe verbosity, as term when word he is rapidly reversing himself. The take up, of course—or what Handke called a Sprechstücke, the speak-in where you sit in, often the stars informed how to listen, often the audience taught to get stars, directed from often the stage—is actually a new constructs of speech on show, the constantly impossible cinema, which accounts for the logorrhea, presumably ending representation, just like a Derridean dream, praise be deconstruction! contradicting itself, experimenting along with play, structure, signal, and even play, a décor without pictures, pure beleaguered play, only a world connected with words and phrases, abolishing scopophilia in a new linguistic and accoustic room, where if a person listen closely towards the looking an individual hear it returning. Handke asserts in a prefatory note that the Sprechstücke have nothing to do having representation, nevertheless subsequently he confesses, with a good ready irony, that will “they imitate the expressions of all the given products natural to the theate