ABSTRACT
The fundamental idea is that in the underworld the characters are all so-called puppets, which is a metaphor for some other sort of dramatic representation. The beginning of Orpheus should be like somebody being born and learning to speak. The Corridor is an attempt to make a sort of chamber theatre, which has the same relationship to opera as a string quartet has to the orchestra. Orpheus returns to the land of the living, singing off stage, while she travels deeper and deeper, in one direction only. There's another element too, where she becomes a chorus figure and speaks about herself as the character. She's looking at herself. This is set apart by a different style of vocal delivery -speech that's notated.
