Auf der Suche nach einem neuen Musiktheater

The Italian composer Luigi Nono (1924–1990) occupies a unique position in 20th-century contemporary music due to the fusion of political engagement and aesthetic avant-garde in his music theater. Drawing on both well-known and newly discovered archival documents, this study examines Nono’s music theater—with a focus on its performance practices—from a theater studies perspective for the first time. The study analyzes the various concepts through which Nono integrates theater and music in his productions. Furthermore, it discusses how changes in the relationship between music and theater reflect the political shifts between 1960 and 1975, particularly around 1968. In this way, a new approach to the theoretical understanding of performativity and representation is created, one that extends beyond Nono’s music theater and contributes to the discussion of political theater and music theater productions. Through the book’s various approaches, it succeeds in offering a fresh perspective on the performance practices of Nono and his collaborators, on smaller and larger productions ranging from *Intolleranza* (1960) to *Al gran sole carico d’amore*.

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