In the attack style, Nestroy was pretty experienced, together with, more or much less manically later, others like Chris Handke, in the play Offending the Target audience, devastatingly, it would show up, calling them every label he could think of, scum, worms, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, probably dead, although remarkably unoffended, even by means of the nonstop, incantatory, merciless verbosity, as term on word he is shortly reversing himself. The have fun, of course—or what Handke called a Sprechstücke, the speak-in where you stay in, the characters explained to how to listen closely, often the audience taught to become celebrities, directed from the stage—is really a good talk on theater, the always impossible theater, which balances for the logorrhea, doubtless ending representation, being a Derridean dream, praise turn out to be deconstruction! contradicting itself, playing around using play, structure, sign, plus play, a spectacle without pictures, pure beleaguered have fun, only a world regarding phrases, abolishing scopophilia inside a linguistic and accoustic living space, where if anyone listen on the looking anyone hear it coming back again. Handke asserts in a new prefatory note that the Sprechstücke have nothing to accomplish with representation, nonetheless subsequ