music theatre in flanders - Muziekcentrum Vlaanderen

tre and theatre music, or is that mere word play? Are there fixed
criteria to define ‘music theatre’? The only possible criterion, in
my opinion at least, is the simultaneous presence of musical and
theatrical elements. But defining these theatrical elements is yet
another subject for further discussion.
ArTISTIC SyMbIOSIS
Rather than venturing myself into (objective?) categorizing and
standardizing, I will discuss two interrelated conditions which, for
me, are essential to experience my role as a composer in a music
theatre piece as substantial.
First of all, there has to be something that I could best describe
as an artistic symbiosis. An interesting and inspiring symbiosis
between different art forms is established when they reinforce
each other within the entirety, when each of the two benefits
from the presence of the other and where none of the parties involved
tries to push the other into a subservient or merely illustrative
role. Moreover, symbiosis within a multi-disciplinary work
of art departs from the idea that the outcome will be more than
the sum of the constituents. That is also the reason why I like
the Dutch word ‘muziektheater’, in which the two words, ‘music’
and ‘theatre’ are written as one single word, suggesting that the
musical and theatrical elements have merged.
For me, music as a fellow driving force behind the dramatic
development is an essential condition to establish what can be
called ‘music theatre’. In itself, music that merely underscores or
illustrates the action, or that only serves as an interlude between
spoken parts, is not interesting enough for music theatre. Or let
me put it this way: when I watch and listen to a music theatre
piece, I want to have a feeling of inexchangeability of the music, to
experience the vital contribution the music makes to the artistic
identity of that particular music theatre piece. That symbiosis is
best established when the makers of a music theatre production
have the courage to peek over the walls of their own artistic discipline
and at the same time take their own discipline’s contribution
entirely seriously. They will automatically and inevitably enter into
each other’s artistic territory. This requires mutual trust, openmindedness
and empathy for each other’s art and artistic vision,
willingness to get to know each other, to listen and absorb and to
refrain from passing quick judgments. And, of course, the readiness
to allow the other to be true to him/herself in his/her artistic
language.
wOrk prOCeSS
And so, here is our second essential condition: an efficient organization
of the work process, of how the music theatre production
is accomplished. Writers, musicians, actors, singers, composers,
directors, designers... they all regularly meet under the protective
roof of one of the larger Flemish music theatre organizations. But
every so often, the meetings take place by chance, with no organization
involved. For practical, organizational reasons, working
under one of these roofs often is an asset, for instance because
the artists no longer have to worry about practical matters and
because there is an entire team, ready to organize communication,
rehearsal room and schedules… These major organizations
also have a stronger network of artists in every possible art discipline,
of venues and potential co-producers. These major music
theatre houses often also work with composers in residence, the
performance of whose artistic output is thus secured, and who,
in turn, co-determine the house’s artistic identity. On the other
hand, a large organization also implies a certain degree of institutionalizing.
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