From the attack mode for typically the present

From the attack mode for typically the present

In the attack style, Nestroy was rather proficient, together with, more or maybe significantly less manically later, other people like Peter Handke, in their play Annoying the Target audience, devastatingly, it would look, calling them every single identity he could think involving, scum, viruses, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, probably dead, yet remarkably unoffended, even by means of the nonstop, incantatory, merciless verbosity, as phrase after word he is before long reversing himself. The play, of course—or what Handke called a Sprechstücke, some sort of speak-in where you stay in, typically the stars instructed how to pay attention, often the audience taught to become actors, directed from the particular stage—is seriously the talk on theater, the often impossible show, which balances for the logorrhea, doubtless ending representation, like a Derridean dream, praise become deconstruction! contradicting itself, playing around together with play, structure, indicator, plus play, a discussion devoid of pictures, pure beleaguered take up, only a world of thoughts, abolishing scopophilia throughout some sort of linguistic and aural room, where if you listen closely on the looking you hear it coming back. Handke asserts in a prefatory note that the Sprechstücke have nothing to accomplish using representation, yet subsequently he accepts the fact, with a new ready irony, of which “they imitate the gestures involving all the given unit