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In the attack mode, Nestroy was really proficient, and, more or considerably less manically later, other folks like Philip Handke, in his / her play Offending the Audience, devastatingly, it would appear, calling them each name he could think regarding, scum, viruses, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, potentially dead, yet remarkably unoffended, even by means of the nonstop, incantatory, merciless verbosity, as expression upon word he is before long reversing himself. The carry out, of course—or what Handke called a Sprechstücke, a new speak-in where you take a seat in, the famous actors told how to tune in, this audience taught to be characters, directed from this stage—is definitely some sort of discourse on theatre, the often impossible theater, which trading accounts for the logorrhea, presumably ending representation, just like a Derridean dream, praise get deconstruction! contradicting itself, experimenting with play, structure, indicator, in addition to play, a discussion devoid of pictures, pure beleaguered carry out, only a world connected with words and phrases, abolishing scopophilia around a linguistic and aural area, where if anyone listen closely for the looking an individual hear it coming back again. Handke asserts in some sort of prefatory note that the Sprechstücke have nothing to accomplish using representation, nevertheless subsequently he confesses, with some sort of ready irony, of which “they imitate the signals

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