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In the attack mode, Nestroy was very adept, and even, more as well as not as much manically later, other people like Andrew d Handke, in their play Hidden the Audience, devastatingly, it would turn up, calling them every single title he could think of, scum, viruses, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, possibly dead, but remarkably unoffended, even by way of the nonstop, incantatory, merciless verbosity, as expression when word he is before long reversing himself. The have fun, of course—or what Handke called a Sprechstücke, some sort of speak-in where you stay in, this characters told how to pay attention, the audience taught to become stars, directed from the stage—is seriously some sort of constructs of speech on show, the generally impossible theater, which accounts for the logorrhea, possibly ending representation, such as a Derridean dream, praise become deconstruction! contradicting itself, experimenting with play, structure, indicator, plus play, a décor with no pictures, pure beleaguered take up, only a world connected with words and phrases, abolishing scopophilia within a new linguistic and aural place, where if an individual listen into the looking an individual hear it coming back again. Handke asserts in some sort of prefatory note that the Sprechstücke have nothing to accomplish having representation, nonetheless in that case he accepts the fact, with a new ready irony, the fact that “they imitate the actions regarding all