Schnee von morgen

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 for the stage now takes place in a wide variety of spaces and situations—the dispositives have become part of the compositional process. Whether it's a peep box and frontal situation, a technological media mix, urban space staging, or participatory performance, the question of what perspectives the audience can develop where in the action has become the essential aspect of all these events.

But what happens next? What might the future of music theater look like? And what about the music theater of the future? What challenges, questions, and hopes are on the table? For SCHNEE VON MORGEN (SNOW OF TOMORROW), Marion Hirte, Daniel Ott, Manos Tsangaris, and Malte Ubenauf (the management team of the Munich Biennale – Festival for New Music Theater from 2016-2024) asked a wide variety of players for their statements on 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 (to paraphrase Fernando Pessoa) as diverse as the universe itself: euphoric, demanding, ironic, intense, funny, poetic, and unsettling.

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