In the attack mode, Nestroy was pretty adept, and, more or less manically later, other individuals similar to Peter Handke, in his or her play Hidden the Target audience, devastatingly, it would seem, calling them every brand he could think of, scum, red worms, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, probably dead, nevertheless remarkably unoffended, even by simply the nonstop, incantatory, merciless verbosity, as word when word he is rapidly reversing himself. The carry out, of course—or what Handke called a Sprechstücke, some sort of speak-in where you sit down in, the actors instructed how to listen closely, often the audience taught to end up being stars, directed from typically the stage—is definitely a new task on movie theater, the constantly impossible cinema, which accounts for the logorrhea, doubtless ending representation, being a Derridean dream, praise become deconstruction! contradicting itself, playing around along with play, structure, signal, in addition to play, a discussion with out pictures, pure beleaguered take up, only a world associated with words and phrases, abolishing scopophilia throughout a linguistic and accoustic place, w here if a person listen into the looking a person hear it rebounding. Handke asserts in the prefatory note that the Sprechstücke have nothing to carry out along with representation, yet subsequently he accepts the fact, with a new ready irony, that will “they imitate the expressions of all the given devices organic to the theater”—which is why he / she boasts in disclaiming the fact that he is not being revolutionary. Typically the preface ends with typically the certain: “Speak-ins are autonomous prologues to the old plays” (ix).
