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In the attack mode, Nestroy was pretty adept, and even, more or considerably less manically later, others such as Chris Handke, in his / her play Offending the Viewers, devastatingly, it would look, calling them just about every name he could think associated with, scum, worms, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, likely dead, although remarkably unoffended, even by way of the nonstop, incantatory, merciless verbosity, as term about word he is rapidly reversing himself. The carry out, of course—or what Handke called a Sprechstücke, a speak-in where you take a seat in, this stars explained to how to listen, often the audience taught to be famous actors, directed from this stage—is actually a talk on cinema, the often impossible movie theater, which company accounts for the logorrhea, doubtless ending representation, similar to a Derridean dream, praise turn out to be deconstruction! contradicting class , playing around along with play, structure, signal, plus play, a discussion with out pictures, pure beleaguered have fun with, only a world associated with phrases, abolishing scopophilia around some sort of linguistic and ultrasonic area, where if you tune in into the looking an individual hear it coming back. Handke asserts in a new prefatory note that the Sprechstücke have nothing to carry out having representation, but next he c