For the creation of music, musical talent and activity go far beyond the organisation of sounding reality, even today, in the work of almost all artists, regardless of musical genre. Here we need not only think of genres of so-called classical music, such as visual music, which has been present since the 1960s, or the theatricalised chamber music theatre, which goes beyond the performance patterns of classical music, or the emergence of the tools of these genres in mainstream music, and classical music culture, but also of the conquest of a number of territories that involve the work of an artist in the organisation and publication of identities that are not at all, or not only, sound, but often also images, slogans and various behavioural patterns. This is true even though composers of the 21st century devote at least as much attention as their predecessors to the various phenomena and meanings of sounds and their relationships, but their activities necessarily cover a musical field with a wider range of instruments.

_the 21st century,
_where we should not walk through the broad gate
_where the simpler way is blessed
_where crystal children bring change
_where Mars is not an alternative
_where chickens should stay
_where we must leave the matrix

GRAND TOUR
Experience, openness and mobility in real space.
Experience, openness and mobility in virtual space.
Both paths are essential to follow and are crucially important forms of the unknown and not pre-coded method of information acquisition. Artistic observation does not limit itself: it is total, whether it is mapping out a structure embedded in physical space or gestures on a digital interface.

 

The perception and understanding of the everyday can lend fresh air and seriousness to the architect’s thoughts. It frees us from the memento-like compulsion to create, which can result in false and redundant houses, or houses that have a professional value but whose degree of design makes them self-confining compositions. Every part of them is overdesigned and finished, and may be regarded as structures with a similar degree of intellectual load as a monument. The identity-building ambition of a more modest building stock, sought in other values, would bring enormous savings and the wisdom of a more socially permeating attitude of vision and proportion, which would be an important part of the mechanism of taste formation. In this I see a kind of real organicism that enables us to shape our built environment in a continuous and responsible way.
 

When developing our new categories, however, we should not for a single moment forget about our creative mission, which is decisive from the practical aspect of the theatre, namely the highest-level objective of ‘finding the shortest way’ and also about the danger that is continually present when we are seeking our own path and which Ariane Mnouchkine describes with these words: ‘I am terrified of everything that can tear the precious thread stretching between the actors and the audience.’
No matter how positive a desire drives the progressive reformers in each generation of artists, the THEATRE must not lose its organic connection with the audience since its temperament is shaped by the intent of the public to play. Directorial ambitions aimed at renewing the work of the artists must, therefore, never cease to seek the sensitively complex spiritual-material connection built between the performers and audience. The flexibility of this strong connection based on moral, psychological and societal content depends to a great extent on the anthropological imperfection of the way in which MAN can be interpreted by an actor.