In a manifesto of ten theses the author aims to establish the notion of \"musicality\" as a paradigmatic principle in creating and perceiving theatre. He outlines how musicality can contribute to, enhance and change working processes in the theatre, be it in naturalistic productions or in a devising context. Key benefits from employing a musical frame of perception for both audiences and practitioners, he argues, are the heightened awareness of form, the productive liberation from the dominance of content and discoursive meaning, the self-reflexivity and the potential for a politics of form and perception. The article draws particularly on examples of recent theatre production from the European (and particularly German-speaking) context, for example by Heiner Goebbels, Michael Thalheimer, Ruedi Häusermann or Sebastian Nübling, and the author plans to develop this necessarily reductive manifesto into a wider and historically more far reaching project ion the near future
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