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In the attack method, Nestroy was pretty skillful, plus, more or even considerably less manically later, others just like Philip Handke, in his play Annoying the Viewers, devastatingly, it would seem, calling them just about every name he could think regarding, scum, red wigglers, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, probably dead, nevertheless remarkably unoffended, even by way of the nonstop, incantatory, merciless verbosity, as term on word he is soon reversing himself. The take up, of course—or what Handke called a Sprechstücke, the speak-in where you sit down in, this characters explained to how to hear, this audience taught to turn out to be characters, directed from typically the stage—is really a new discourse on show, the constantly impossible theater, which trading accounts for the logorrhea, possibly ending representation, similar to a Derridean dream, praise turn out to be deconstruction! contradicting itself, experimenting along with play, structure, signal, in addition to play, a spectacle with no pictures, pure beleaguered have fun with, only a world connected with thoughts, abolishing scopophilia inside a new linguistic and aural place, where if a person hear to the looking an individual hear it coming back again. Handke asserts in a good prefatory note that the Sprechstücke have nothing to perform along with representation, yet subsequently he admits, with a ready irony, that “they imitate the motions regarding all the gi