New music theatre in Europe : transformations between 1955-1975 / edited by Robert Adlington.

Innehåller bibliografi och index

Innehåll: The definition of a new performance code: from the avant-garde to "new theatre" / Stefania Bruno -- Total theatre and music theatre: tracing influences from pre- to post-war avant-gardes / Julia H. Schröder -- Theatre as problem: modern drama and its influence in Ligeti, Pousseur and Berio / Vincenzina C. Ottomano -- Audio-visual collisions: moving image technology and the laterna magika aesthetic in new music theatre / Holly Rogers -- Composing new media: magnetic tape technology in new music theatre, c. 1950-1970 / Andreas Münzmay -- Guerilla in the polder: music-theatrical protests in the Low countries, 1968-1969 / Harm Langenkamp -- René Leibowitz's Todos caerán: grand opéra as (critique of) new music theatre / Esteban Buch -- A survey of new music theatre in Rome, 1961-1973: "anni favolosi"? / Alessandro Mastropietro -- Avant-garde music theatre at the Festival d'Avignon between 1967 and 1969 / Jean-François Trubert -- Reconceptualising the performer in new music theatre: collaborations with actors, mimes and musicians / David Beard -- Embodied commitments: solo performance and the making of new music theatre / Francesca Placanica -- New music theatre and theories of embodied cognition / Björn Heile -- Analysing new music theatre: theme and variations (from a multimedia perspective) / Angela Ida De Benedictis

Between 1955 and 1975 music theatre became a central preoccupation for European composers digesting the consequences of the revolutionary experiments in musical language that followed the end of the Second World War. The `new music theatre' wrought multiple, significant transformations, serving as a crucible for the experimental rethinking of theatrical traditions, artistic genres, the conventions of performance, and the composer's relation to society. This volume brings together leading specialists from across Europe to offer a new appraisal of the genre. It is structured according to six themes that investigate: the relation of new music theatre to earlier and contemporaneous theories of drama; the use of new technologies; the relation of new music theatre to progressive politics; the role of new venues and environments; the advancement of new conceptions of the performer; and the challenges that new music theatre lays down for music analysis. Contributing authors address canonical works by composers such as Berio, Birtwistle, Henze, Kagel, Ligeti, Nono, and Zimmermann, but also expand the field to figures and artistic developments not regularly represented in existing music histories. Particular attention is given to new music theatre as a site of intense exchange - between practitioners of different art forms, across national borders, and with diverse mediating institutions?