ABSTRACT
The premise is necessary because, from an analytical standpoint, the difficulties encountered when one speaks of ‘new music theatre’ concern, after all, the existence of a stage and of a visible dimension that is, as a whole, a ‘meaningful structural element’. In defining new music theatre, the only element that assumes undisputed priority is the one regarding the ‘creative intentionality’ of the author. When one speaks of new music theatre, in short, one cannot refer only to the ‘new music’, but also, necessarily to a ‘new theatre’. On closer inspection, the history of new music theatre can be seen as a chain of unique events, whose interpretation cannot be based exclusively on the analysis of the musical materials, but must equally concern itself with an analysis of the performance and of audiovisual documents. The chapter explains the limitations that analysis of the score alone yields in the realm of new music theatre.
