Der gebrochene Spiegel

Olbrisch’s ‘polyscenic music theatre in twelve variable scenes’ is a typical example of music theatre exploiting the structural material and expressive possibilities of concept art of the 1980s and 90s. The scenes which are not linked in content vary from solo vocal sections in which symbolic texts are recited, ensemble scenes with actions which initially appear realistic, but on closer inspection turn out to be enigmatic and scenes in which mythological figures discuss the world, death and transience.