In the attack setting, Nestroy was rather adept, in addition to, more or maybe considerably less manically later, others just like Andrew d Handke, in their play Annoying the Target audience, devastatingly, it would look, calling them just about every title he could think regarding, scum, red wigglers, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, probably dead, although remarkably unoffended, even by way of the nonstop, incantatory, merciless verbosity, as expression when word he is rapidly reversing himself. The have fun with, of course—or what Handke called a Sprechstücke, some sort of speak-in where you take a seat in, typically the actors told how to tune in, the particular audience taught to be actors, directed from this stage—is actually some sort of talk on show, the generally impossible theatre, which balances for the logorrhea, possibly ending representation, being a Derridean dream, praise end up being deconstruction! contradicting itself, experimenting having play, structure, indicator, and even play, a spectacle with out pictures, pure beleaguered take up, only a world of words, abolishing scopophilia within a linguistic and ultrasonic space, where if anyone pay attention to the looking anyone hear it coming back again. Handke asserts in a new prefatory note that the Sprechstücke have nothing to do along with representation, nevertheless after that he admits, with a good ready irony, of which “they imitate the actions associated with