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|a Cover -- Half Title -- Series Page -- Title Page -- Copyright Page -- Table of Contents -- List of figures, tables, and music examples -- Figures -- Tables -- Music examples -- Notes on contributors -- Acknowledgements -- Introduction: why 'new music theatre' now? -- Why new music theatre now? -- Overview of the volume -- References -- PART I: Between the avant-gardes: new music theatre and new conceptions of drama -- Chapter 1: The definition of a new performance code: from the avant-garde to 'new theatre' -- The rise of the avant-garde and the European scenario -- The Italian case -- Cultural alignment and new theatre -- Open work and scenic writing -- New theatre's tradition and permanency -- References -- Chapter 2: Total theatre and music theatre: tracing influences from pre- to post-war avant-gardes -- Parameters and totality in experimental music theatre -- Totalitarian aesthetics? Opera discourse and experimental music theatre -- Hidden references: Zimmermann's opera as total theatre -- Overwhelming: the immersion of the spectator-listener -- Theatre music - music as part of the total theatre? -- Politically committed music theatre: using the total theatre space -- Conclusion: no need to re-establish the term 'total theatre' -- References -- Chapter 3: Theatre as problem: modern drama and its influence in Ligeti, Pousseur and Berio -- Ligeti and the desire for the absurd -- Pousseur and the 'call to participation' -- Berio and the (infinite) possibilities of representation -- Acknowledgements -- References -- PART II: Expansions of technology -- Chapter 4: Audio-visual collisions: moving image technology and the Laterna Magika aesthetic in new music theatre -- Moving image interventions -- Laterna Magika -- The fractured gaze -- The medium is the message -- New realities -- References.
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