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In between , Nestroy was really adept, and even, more or maybe less manically later, other people like Peter Handke, in his play Offending the Viewers, devastatingly, it would look, calling them every label he could think involving, scum, worms, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, possibly dead, but remarkably unoffended, even by simply the nonstop, incantatory, merciless verbosity, as phrase about word he is quickly reversing himself. The take up, of course—or what Handke called a Sprechstücke, some sort of speak-in where you sit down in, often the stars instructed how to listen closely, often the audience taught to become celebrities, directed from typically the stage—is definitely a constructs of speech on show, the constantly impossible cinema, which balances for the logorrhea, presumably ending representation, just like a Derridean dream, praise turn out to be deconstruction! contradicting itself, experimenting along with play, structure, indication, in addition to play, a discussion without pictures, pure beleaguered take up, only a world involving phrases, abolishing scopophilia inside a new linguistic and auricular living space, where if a person pay attention to the looking anyone hear it coming back again. Handke asserts in a prefatory note that the Sprechstücke have nothing to accomplish with representation, nevertheless next he admits, with the ready irony, that