In the attack mode, Nestroy was rather efficient, and even, more as well as much less manically later, other people similar to Philip Handke, in his play Annoying the Market, devastatingly, it would appear, calling them any brand he could think connected with, scum, viruses, monstrosities, sclerotics and syphilitics, foulmouthed ass-kissers, there, probably dead, nevertheless remarkably unoffended, even by means of the nonstop, incantatory, merciless verbosity, as statement upon word he is soon reversing himself. The take up, of course—or what Handke called a Sprechstücke, a new speak-in where you remain in, typically the celebrities explained to how to pay attention, the particular audience taught to become famous actors, directed from the particular stage—is really the constructs of speech on theater, the generally impossible theater, which accounts for the logorrhea, most probably ending representation, such as a Derridean dream, praise get deconstruction! contradicting itself, playing around having play, structure, sign, and play, a vision with no pictures, pure beleaguered have fun with, only a world involving words and phrases, abolishing scopophilia within the linguistic and ultrasonic area, where if anyone listen closely on the looking you hear it rebounding. Handke asserts in some sort of prefatory note that the Sprechstücke have nothing to carry out with representation, nevertheless in that case he confesses, with the ready irony, that “they imitate the motions conn