Rihm und Artaud / Rihm et Artaud

The implementation of Antonin Artaud’s “Theater of Cruelty” in the musical works of Wolfgang Rihm is a highly complex and fascinating subject. This topic explores the artistic connections between the German composer and the French writer and theater theorist. This German-French symbiosis of music and theater is particularly compelling because there have been few publications on this subject to date. Furthermore, the analysis of a musical theater work in which a German composer spent five years working on French texts in German translation is of interest for musicological research. Rihm was so inspired by Artaud’s literary work that he ultimately wrote the libretto for *The Conquest of Mexico* himself, basing it on the theater theorist’s guidelines. The realization of a new musical language by Rihm through Artaud’s work is the main thesis upon which this publication is based. The implementation of Antonin Artaud’s “Theatre of Cruelty” in the musical work of composer Wolfgang Rihm is a complex and highly interesting subject. Indeed, this theme highlights the artistic connections between a German composer and a French writer and theater theorist. This Franco-German musical-theatrical symbiosis appears fascinating, and the analysis of a German composer’s musical theater—who worked for over five years primarily on French texts translated into German—is of interest to musicological research. Wolfgang Rihm was, in fact, so fascinated by Artaud’s literary work that he eventually wrote the libretto for *La conquête du Mexique*, drawing inspiration from Artaud’s principles. The composer’s search for a new musical language through Artaud’s work is the central theme explored in this book.

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