In the attack method, Nestroy was rather experienced, plus, more or maybe much less manically later, others similar to Philip Handke, in his or her play Offending the Target audience, devastatingly, it would show up, calling them every single label he could think regarding, scum, earthworms, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, likely dead, nonetheless remarkably unoffended, even by means of the nonstop, incantatory, merciless verbosity, as expression when word he is shortly reversing himself. The take up, of course—or what Handke called a Sprechstücke, some sort of speak-in where you sit in, often the characters advised how to listen closely, the particular audience taught to become actors, directed from typically the stage—is seriously some sort of talk on show, the generally impossible cinema, which trading accounts for the logorrhea, most probably ending representation, like a Derridean dream, praise get deconstruction! contradicting itself, experimenting with play, structure, indicator, plus play, a spectacle without pictures, pure beleaguered carry out, only a world connected with words, abolishing scopophilia within a good linguistic and ultrasonic living space, where if a person listen for the looking you hear it coming back. Handke asserts in a prefatory note that the Sprechstücke have nothing to carry out with representation, yet in that case he confesses, with a good ready irony, that will “they imitate the actions involving al