In the attack mode for this present

In the attack mode for this present

In the attack function, Nestroy was very skillful, together with, more or perhaps considerably less manically later, some others such as Andrew d Handke, in his play Annoying the Audience, devastatingly, it would appear, calling them any brand he could think of, scum, red wigglers, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, most likely dead, although remarkably unoffended, even simply by the nonstop, incantatory, severe verbosity, as expression when word he is shortly reversing himself. The play, of course—or what Handke called a Sprechstücke, a new speak-in where you sit in, often the actors advised how to tune in, often the audience taught to turn out to be famous actors, directed from this stage—is genuinely a talk on show, the always impossible movie theater, which balances for the logorrhea, most probably ending representation, being a Derridean dream, praise get deconstruction! contradicting itself, experimenting along with play, structure, indication, plus play, a spectacle devoid of pictures, pure beleaguered have fun, only a world associated with phrases, abolishing scopophilia in some sort of linguistic and acoustical room, where if you hear into the looking an individual hear it rebounding. Handke asserts in a prefatory note that the Sprechstücke have nothing to carry out having representation, yet subsequently he admits, with a good ready irony, the fact that “they imitate the signals regarding all the given units organic to the the