My plays are the contact and the expression of nostalgia

My plays are the contact and the expression of nostalgia

“How curious it can be, the way curious this is, ” as they roulé-boulé in The Bald Soprano, no roots, zero origin, no authenticity, virtually no, little or nothing, only unmeaning, together with undoubtedly no higher power—though the Emperor turns up invisibly from the Chairs, as from a “marvelous dream :::., the estupendo gaze, typically the noble experience, the overhead, the radiance of His / her Majesty, ” the Old Man's “last recourse” (149–50), as he states, before he entrusts his / her message to the Orator plus throws himself out the particular window, making us to help discover that the Orator is deaf and foolish. Thus the delusion connected with hierarchy and, spoken as well as unspoken, the futile self-importance or vacuity of conversation. But even more inquiring, “what the coincidence! ” (17) is how that unfilled datensatz (fachsprachlich) of typically the Absurd grew to become the litany of deconstruction, which shrubs its wagers, however, with a devastating nothingness by letting metaphysics inside soon after presumably rubbing it out, of which is, putting it “under erasure” (sous rature), like Derrida does in his grammatology, conceding what Nietzsche advised us, that Jesus can be dead, but working with the word anyhow, because we can rarely consider without it, as well as some other transcendental signifiers, for instance attractiveness or eternity—which may be, certainly, the words spoken by way of the Old Man in order to the undetectable Belle within The Cha