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In the attack method, Nestroy was quite proficient, and even, more as well as not as much manically later, other folks just like Chris Handke, in the play Offending the Target audience, devastatingly, it would look, calling them each title he could think regarding, scum, red worms, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, most likely dead, nevertheless remarkably unoffended, even simply by the nonstop, incantatory, severe verbosity, as statement when word he is rapidly reversing himself. The play, of course—or what Handke called a Sprechstücke, a new speak-in where you sit in, the particular stars informed how to listen, this audience taught to become stars, directed from this stage—is really a constructs of speech on show, the always impossible theatre, which records for the logorrhea, most probably ending representation, similar to a Derridean dream, praise end up being deconstruction! contradicting itself, playing around together with play, structure, sign, together with play, a vision without pictures, pure beleaguered play, only a world associated with thoughts, abolishing scopophilia throughout a new linguistic and ultrasonic living space, where if a person pay attention on the looking a person hear it heading back. Handke asserts in a prefatory note that the Sprechstücke have nothing to accomplish along with representation, but next he accepts the fact, with a ready irony, that will “they imitate the gestures of all the given products