Within the attack mode for typically the present

Within the attack mode for typically the present

In the attack method, Nestroy was very skillful, plus, more or significantly less manically later, other individuals like Philip Handke, in the play Annoying the Target audience, devastatingly, it would seem, calling them each title he could think of, scum, red wigglers, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, likely dead, but remarkably unoffended, even by simply the nonstop, incantatory, severe verbosity, as expression about word he is soon reversing himself. The play, of course—or what Handke called a Sprechstücke, the speak-in where you sit in, often the celebrities explained to how to listen, often the audience taught to be characters, directed from this stage—is definitely the talk on movie theater, the constantly impossible show, which trading accounts for the logorrhea, presumably ending representation, such as a Derridean dream, praise become deconstruction! contradicting itself, experimenting along with play, structure, signal, and even play, a vision without having pictures, pure beleaguered play, only a world associated with words, abolishing scopophilia within some sort of linguistic and acoustical place, where if an individual tune in to the looking an individual hear it returning. Handke asserts in the prefatory note that the Sprechstücke have nothing to carry out with representation, but subsequently he admits, with a new ready irony, the fact that “they imitate the actions connected with all the given equipment natural to th