Sunday, November 15 2020

In the attack mode for the present

In the attack method, Nestroy was pretty adept, and, more as well as much less manically later, other people similar to Andrew d Handke, in their play Hidden the Audience, devastatingly, it would seem, calling them every single brand he could think regarding, scum, red worms, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, likely dead, yet remarkably unoffended, even by means of the nonstop, incantatory, merciless verbosity, as phrase after word he is soon reversing himself. The have fun, of course—or what Handke called a Sprechstücke, the speak-in where you stay in, this celebrities informed how to pay attention, often the audience taught to become celebrities, directed from often the stage—is genuinely the talk on show, the generally impossible cinema, which trading accounts for the logorrhea, presumably ending representation, just like a Derridean dream, praise become deconstruction! contradicting itself, playing around using play, structure, indicator, in addition to play, a stage show with no pictures, pure beleaguered carry out, only a world regarding thoughts, abolishing scopophilia around the linguistic and auricular room, where if you listen to the looking an individual hear it coming back. Handke asserts in a new prefatory note that the Sprechstücke have nothing to do using representation, nonetheless subsequently he admits, with a good ready irony, that “they imitate the gestures associated with all the given devices all natural to the theater”—which is why he claims in disclaiming the fact that she has not being revolutionary. The preface ends with this conclusive: “Speak-ins are autonomous exorde to the previous plays” (ix).
Which delivers us back to Nestroy, whose ironies had been even now directed at, and constrained simply by, a far by autonomous cinema, while throughout Hapsburg Vienna, with a infection of outdated plays, even those introduced as new, the specs could be extravagant, as properly as the accoustic room for another world involving words—upon which, by way of this application of dialects, lingo, plainspoken speech, funny goods to produce a living, the living this individual deplored, they was with disgusted calor also making satiric conflict. type wasn't pretty the war of words and phrases announced at the fin sobre siècle simply by the much-feared, formidable, indisputable Karl Wellig, who was actually liable for reviving Nestroy, because a in a big way expected, heavy satirical thinker, though definitely not perhaps with the Geist, a World-Spirit for Hegel, a mind-spirit for Lockig, an ethical mastery on the Word, which Kraus said for himself, not simply apostolically, but as their digital métamorphose. Nor, even though he'd renewed him by oblivion by reading Nestroy's text messages to a crowd, he absolutely didn't want to see them around the show. Against often the aestheticizing of thought, simply by the Jung-Wien and Secession, Kraus also believed the fact that staging of a text defiled it, and the purity regarding language just as well, thus preferable to preserve it away from this show-off virtuosity, the self-indulgence of celebrities. Dramatic artwork could only be preserved, he / she insisted, by way of keeping the idea out of effectiveness. Is actually hard to say precisely what Nestroy could have manufactured coming from all this, if is actually true that he or she thought additional of himself since the actor than as the playwright. In that regard, no matter what rage of antitheater he might have shared using Kraus, he / she was nevertheless writing functions with regard to him or her self, and when their own virtuosity was running apart having the text—the authority of the author leaving it behind—he had to take typically the measure of just where they will could be performed.