For a long time it seemed perfectly clear what musical theater was and where it should take
place: on a stage with an audience sitting (or standing) in front of it. This mode has fallen
apart in the 21st century at the latest. Everything that is composed designed and developed
scenically takes place in a wide variety of spaces and situations - the dispositives have
become part of the compositional process. Whether peep-box and frontal situation technological
media mix urban space staging or participative performance the question of which perspectives
the audience can develop where in the action has become the essential aspect of all these
events. But what happens next? What could the future of music theater look like? And what will
the music theater of the future look like? What challenges questions and hopes are there? For
the SCHNEE VON MORGEN Marion Hirte Daniel Ott Manos Tsangaris and Malte Ubenauf (management
team of the Munich Biennale - Festival for New Music Theater from 2016-2024) asked very
different players to make statements about the future of music theater. The comments and
predictions of artists and researchers such as Brigitta Muntendorf Alexander Kluge Stefan
Prins Chaya Chernowin Thomas Köck Shirley Apthorp Enno Poppe Achim Freyer Eloain Lovis
Hübner Noa Frenkel and Trond Reinholdtsen are (loosely based on Fernando Pessoa) as diverse as
the universe: euphoric demanding ironic fierce funny poetic and irritating.
