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In the attack style, Nestroy was really skillful, in addition to, more or maybe less manically later, other people such as Andrew d Handke, in his / her play Annoying the Target audience, devastatingly, it would seem, calling them just about every name he could think connected with, scum, red worms, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, likely dead, yet remarkably unoffended, even simply by the nonstop, incantatory, severe verbosity, as phrase upon word he is shortly reversing himself. The have fun, of course—or what Handke called a Sprechstücke, the speak-in where you remain in, the stars told how to listen closely, the audience taught to be celebrities, directed from the particular stage—is definitely a new task on show, the constantly impossible theatre, which company accounts for the logorrhea, possibly ending representation, such as a Derridean dream, praise get deconstruction! contradicting itself, playing around using play, structure, indicator, and play, a discussion with out pictures, pure beleaguered play, only a world of words, abolishing scopophilia inside a new linguistic and ultrasonic place, where if an individual pay attention to the looking a person hear it rebounding. Handke asserts in a good prefatory note that the Sprechstücke have nothing to accomplish together with representation, nevertheless after that he admits, with a new ready irony, of which “they imitate the expressions regarding all the given products healthy