Table of Contents

Introduction: Composed Theatre in Context – David Roesner

PART I: History and Methodology

Chapter 1: Composed Theatre: Mapping the Field – Matthias Rebstock

Chapter 2: Composition and Theatre – Roland Quitt

Chapter 3: ‘Happy New Ears’: Creating Hearing and the Hearable – Petra Maria Meyer

PART II: Processes and Practices: Work Reports and Reflections

Chapter 4: ‘It’s all part of one concern’: A ‘Keynote’ to Composition as Staging – Heiner Goebbels

Chapter 5: ‘ Theatre in small quantities’: On Composition for Speech, Sounds and Objects – Michael Hirsch

Chapter 6: … To Gather Together What Exists in a Dispersed State … – Jörg Laue

Chapter 7: From Interdisciplinary Improvisation to Integrative Composition: Working Processes at the Theater der Klänge – Jörg U. Lensing

Chapter 8: ‘ Let’s stop talking about it and just do it!’: Improvisation as the Beginning of the Compositional Process – George Rodosthenous

Chapter 9: Hearing Voices – Transcriptions of the Phonogram of a Schizophrenic: Music-theatre for Performer and Audio-visual Media – Nicholas Till

Chapter 10: Composing Theatre on a Diagonal: Metaxi ALogon, a Music-centric Performance – Demetris Zavros

PART III: Processes and Practices: Portraits and Analyses 

Chapter 11: ‘Ça devient du théâtre, mais ça vient de la musique’: The Music Theatre of Georges Aperghis – Matthias Rebstock

Chapter 12: Musical Conquest and Settlement: On Ruedi Häusermann’s Theatre Work(s) – Judith Gerstenberg

Chapter 13: Composing with Raw Materials: Daniel Ott’s Music-theatre Portraits and Landscapes – Christa Brüstle

Chapter 14: Permanent Quest: The Processional Theatre of Manos Tsangaris – Jörn Peter Hiekel

PART IV: Discussion and Debate

Chapter 15: Composed Theatre – Discussion and Debate: On Terminology, Planning and Intuition, Concepts and Processes, Self-reflexivity and Communication – Edited by Matthias Rebstock and David Roesner

PART V: Discourse and Analysis

Chapter 16: ‘ It is not about labelling, it’s about understanding what we do’: Composed Theatre as Discourse – David Roesner

About the Author

Professor Dr. Matthias Rebstock is Junior Professor for Scenic Music at the University of Hildesheim. His research interests include contemporary Music, experimental music, aesthetics, and performance studies. Dr. David Roesner is a Senior Lecturer in Drama at the University of Exeter. His research interests include experimental music theatre, incidental music, contemporary performance, and opera in performance.

Reviews

'A significant, stimulating introduction to a strand of theatre that is bound to move more centre-field.' 
*Adam Somerset for Theatre in Wales*

'Brings together a diverse range of voices and perspectives, appropriately conveying the sense of scholars and artists engaged in ongoing debate about a developing form. ... It is a style of performance I ahve had little direct experience with but the book made me want to hear and see more.' 
*Jackie Smart for Theatre Research International*

'The volume is accompanied by many beautiful full-colour illustrations (some being major works in art history), photographs and diagrams, making it an appealing choice as a textbook for a number of University courses and programmes, as well as a delight for researchers'
*Studies in Theatre and Performance, Pamela Karantonis*