I think that any search for new relations between music and theatre has to start from a negative remark: before setting a new goal, we must be sure to set aside those previously reached. Only after this can we try to shape or to renew a global conception, in a sense comparable to the old ‘Gesamtkunstwerk’, the purpose being that of subsuming music as a part of a more general plan. This is why today we often have the impression that music is not the most important factor in our experiments any more.