Inside attack mode for often the present
In the attack style, Nestroy was pretty skillful, and, more or much less manically later, other people just like Peter Handke, in the play Hidden the Visitors, devastatingly, it would look, calling them just about every label he could think of, scum, red worms, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, most likely dead, but remarkably unoffended, even by means of the nonstop, incantatory, severe verbosity, as statement about word he is before long reversing himself. The have fun, of course—or what Handke called a Sprechstücke, a new speak-in where you take a seat in, often the characters informed how to tune in, the audience taught to turn out to be stars, directed from this stage—is definitely a discourse on theatre, the constantly impossible show, which company accounts for the logorrhea, most probably ending representation, such as a Derridean dream, praise end up being deconstruction! contradicting itself, playing around with play, structure, indication, plus play, a spectacle without having pictures, pure beleaguered carry out, only a world regarding thoughts, abolishing scopophilia in a good linguistic and acoustical space, where if an individual hear for the looking you hear it returning. Handke asserts in a prefatory note that the Sprechstücke have nothing to perform with representation, but after that he admits, with a new ready irony, of which “they imitate the actions associated with all the given devices all natural to the theater”—which is why he or she claims in disclaiming of which she has not being revolutionary. This preface ends with often the defined: “Speak-ins are independent commencement to the previous plays” (ix).
Which brings us back to Nestroy, whose ironies have been nevertheless directed at, and restricted simply by, a far coming from autonomous theater, although throughout Hapsburg Vienna, with a good infection of older takes on, even those publicised since new, the cups may possibly be extravagant, as nicely as the ultrasonic space for another world regarding words—upon which, by way of typically the deployment of dialects, vocabulary, plainspoken speech, funny goods to create the living, some sort of living they deplored, they was with disgusted calor also making satiric warfare. It wasn't rather the particular war of words announced at the fin via siècle by way of the much-feared, formidable, innegable Karl Gelockt, who was actually liable for refreshing Nestroy, as a greatly expected, heavy satirical thinker, though definitely not perhaps with the Geist, a World-Spirit for Hegel, a mind-spirit for Gelockt, an honest mastery on the Word, which Kraus advertised for himself, not just apostolically, but as it has the virtual incarnation. Nor, while he'd restored him coming from oblivion simply by reading Nestroy's scrolls to a crowd, he certainly didn't want to see them inside the cinema. Against typically the aestheticizing of impulse, by means of the Jung-Wien and Secession, Kraus also believed the fact that staging of a written text defiled it, and the purity connected with language just as well, thus easier to preserve it away from typically the show-off virtuosity, the self-indulgence of celebrities. Extraordinary art could just be preserved, he or she insisted, by keeping that out of performance. Is actually hard to say just what Nestroy may well have manufactured in all this, if really true that he thought whole lot more of himself because a good actor than as the playwright. In that view, no matter the rage of antitheater he might have shared having Kraus, he was however writing tasks for him self, and although his very own virtuosity was running away having the text—the authority from the author leaving it behind—he had to take often the measure of where that they could be performed.