| Volltext: | INDEX Page numbers in italics indicate figures. absolute music: definition of, 191; history of, 19z; Hoffmann and, 197-98, Z08; Wagner and, 198-99 addiction theme in work of Wagner, 168- 69 . Adorno, Theodor W.: Aesthetic Theory, 66; Baudelaire and, 329; on Bayreuth experience,'169; criticism of Wagner by, 16-17, 91. 92.-93, 328; debate with BlocH, 132-33; The Dialectic of Enlightenment, 16; fragment and disintegration in works of, 65-67; Gesamtkunstwerk and, 330-36; In Search of Wagner, 16, 115, 328-30; Left critique and, 335; on music, 332- 34; on poetry, 333—34; on principle of artistic form, 79; on Schoenberg's The Lucky Hand, 202, 204-5; synthesis and, 8; on Wagner as conductor, 186- 87 aesthetic chance. See chance, aesthetics of aesthetic mimesis, 255-56 aesthetic unity, plea for, 74-85 Alizart, Mark: on contemporary total artworks, 144-46; on Dump, 142- 44; on Protestantism, modernism, and postmodernism, 144-51 alliteration, 216 "L'amiral cherche une maison à louer" (Dada poem), 314-15 Andrade, Oswald de, 326 an anthology of chance operations (Young), 123-27 anthropophagy and totality, 326 Appia, Adolphe, 219-20, 411-12П. 11 Arbeitsrat für Kunst (Work Council for Art), 254-55, 257, 262 architectonic balance: Behne and, 258, 259; in music, 353, 362-63 architecture: cathedral of future and, 260-66; mission of, 260-66; revolution and, 257-60; of Semper, 176; Taut and, 256; of theater, combining acoustic and visual sense with, 217- 18; as total art, 258 architecture of Bayreuth Festival Theater: auditorium, 170-72,171, 176- 81,180; exterior, 180-81; ground plan, 171; orchestra pit, 171,183, 183-85, г84 Arendt, Hannah, 256 Aristotle, 234, 354 Arndt, Ernst Moritz, Spirit of the Age, 59 Arp, Hans: "Balsam Cartouche" 313; as Dadaist, 270; Joyce and, 319, 320; multilingual texts and, 308, 315-16 art: acceptance of performance as, 225- 26; autonomous realms for, 192,196- 97, 2II-I2; Einstein on functions of, 232; elevation of, 81-83; as heir of religion, 273-74; "idea-art" 1x2, 114; as "incarnation" 253; pathos as first postulation of, 234-36; reconciliation in, 81; revolution and, 279-80; Schiller on, 85; as spontaneous flowering, 256-57; Wagner theory of, 214-18. See also conceptual art Art and Revolution (Wagner), 11, 94. 17°. 275-76 Artaud, Antonin, "theater of cruelty" 102-3, 145 455 artist, as media conductor, 166 arts, interaction between in multiple artworks, 351 artwork: impossible realizations of, 32- 36, 49-50, 51; reflection on concept of, 77-78. See also total artwork The Art-Work of the Future ("Wagner): context of, i j6, 175; Gesamtkunstwerk and, II, 94, 113, 170; overview of, 114; revolution and, 36-37; theory in, 211 Ascott, Roy, 164 assemblage, 22, 79 Astaire, Fred, 342 Athenaeum (journal): fragment 116 of, 3, 46, 311, 397m 23; fragments in, 54, 56, 61; German romanticism and, 38 Atherton, James, 318 audience. See participants/spectators Auner, Joseph, 203 automatons, 190 autonomy, Kantian notion of, 211 avant-garde movements: fragment(s) and, 120; opera and, 440m 1; "performative shift" in, 224-25; quasi-theater performances, 15, 20-21; theater experimentation of, 103 Azizov, Zeigam, 138-39 Baader, Johannes, 273 Bach, Johann Sebastian, 358, 369 Bakhtin, Mikhail: carnivalism and, 305, 326; "dialogic principle" and, 118 Bakunin, Mikhail, 11, 173-74 Balibar, Etienne, 128, 137 Ball, Hugo, 3 20 Ball, Otto, 289 "Balsam Cartouche" (poem), 313 Balzac, Honoré de, The Unknown Masterpiece, 35 Banham, Reyner, 261 Barrault, Emile, 256-57 Barta, Sándor, 280 Baudelaire, Charles: Adorno and, 329; on Chenavard, 33; on modern beauty, 45; on modernity, 40, 108; Paris Spleen, 59 Bauhaus: Cathedral of Socialism, 281, 298; in Dessau, 283, 289; funding for, 283; manifesto of, 15, 281, 282; mission of, 264-65; Moholy-Nagy and, 282, 283-84; objectives of, 254; theater and, 285 Bayreuth festival: advertisement from album of, 189, 189-90; as artist's shrine to self, 117; as collective artwork, 164; criticisms of, 219; Gesamtkunstwerk and, 3 6; management of, 188; reactions to first, 412m 14; style of production at, 224-25; Wagner as director of, 214. See also Festpielhaus theater beauty: essence of, 83-85; modern, Baudelaire on, 45 Bee, Louis, 121, 122 Beckett, Samuel, 308, 321 Beethoven, Ludwig von: Adorno and, 333; strong formal approach to musical works and, 358, 369; Wagner on, 198-99 . Behne, Adolf: on artistic -isms, 260; "German Expressionists" 259; "Rebirth of the Art of Construction" 262; The Return of Art, 258 Belmondo, Jean-Paul, 340 Belting, Hans, 36 Benjamin, Walter: Berlin Childhood around Nineteen Hundred, 312; on character of collector, 271; fragmen-tarism and, 68; Passages, 59; "pure language" and, 323; romanticism and, 39, 42; works of Klee owned by, 420П. 87 Benn, Gottfried, 80, 83 Berg, Alban, 349 Bergson, Henri, 364 . Berio, Luciano, Circles, 349 Berlioz, Hector, 185 Berman, Antoine, 311-12 Bermbach, Udo, 113 Bernhard, Thomas, 69-73 Bernstein, Leonard, 342 Bie, Otto, 294, 295 Bird, John, 112 Black Mountain College, 103 "black romanticism" 23 5 Blair, Betsy, 341 456 Index Blanc, Charles, 159-60 Blanchot, Maurice, 47-48, 50 Bloch, Ernst: debate with Adorno, 132- 34; Heritage of Our Times, 59; utopia and, 423П. 5 Blok, Alexander, Balaganchik, 221 Bloom, Harold, 73 Bonds, Mark Evan, 198 The Book (Mallarmé), 12, 96-97, 98- 100, 323 books and romanticism, 48-49 Boulez, Pierre: aesthetic chance and, 100, 108-9; Stockhausen on, 357; Structures, 360; Three Sonatas, 349 boundaries, collapsing and dissolving, 3:58-59 Bourdieu, Pierre, 81 Brandt, Karl, 170, 176-77 Brecht, Bertolt: critical distancing and, 19-20; on Gesamtkunstwerk, 188; Kelly, Blair, and, 341; "A Short Organum for the Theatre" 6; statement from, 133, 134; synthesis in art and, 8; Verfremfungseffekt and, 341 Brecht, George, 124 Bremer, Claus, 124 Breton, André, 49, 101 Breuer, Marcel, 289 Breuer, Stefan, 114-15 Broch, Hermann, The Sleepwalkers, 72 Brown, Earle, 124, 349 Brown, Herb Nacio, 340 Bruce Mau Design/Institute without Boundaries/Massive Change, poster by, 140 Brückwald, Otto, 170, 176-77 Büchel, Christoph, Dump, 142-43, 143, 144 Bussotti, Sylvano, 349 Buzari, Pash, 139 Byrd, Joseph, 124 Cage, John: aesthetic chance and, 100, 103-4, 107; dissipative formal approach to musical works and, 349; "Excerpt from 45' FOR A SPEAKER, 124; 4'33", 104, 105, X06, 155, 164; o'00", 104-6 Calder, Alexander, 300 Canetti, Elias, 78 cannibalism and modernism, 326 Cantos (Pound): Galaxias and, 323; ideogrammic method of, 316-18; multilingualism and, 309 Cardiff, Janet, 131 Carlyle, Thomas, 263 carnivalism, 305, 326 cathedral: Bauhaus and, 281-82, 298; as center of medieval totality, 257; of future, 260-66; Merzbau and, 267- 74; National Socialism and, 298; symbolism of, 260; as temporal model, 266-67, 2-68 Celan, Paul, 68, 69 Chagall, Marc, 258 chance, aesthetics of: Boulez and, 100, 108-9; Cage and, 100, 103-4, I07 definition of, 100; Mallarmé and, 99- 100; totality, infinity, redemption, and, 22, 86, 10J-9 Chandler, John, 114 chaos of nature, 89-90, 93 Charisse, Cyd, 339, 343 Chenavard, Paul, 33-34 cinema, advent of, 336-37 Cioran, E. M., 68, 71, 74 circular design in literature, 315, 324 Ciurlionis, Mikolajus Konstantinas, 33 classical aesthetics, 211-14 classical antiquity, rediscovery of, 61, 62, 177-78 classicism, aesthetic premises of, 211-14 closed totality: Gesamtkunstwerk and, 9; Middle Ages and, 267; shift to open totality from, 88; Wagner and, 93, 35^-53 code structuring, 217 Cohn, Robert Greer, 315 collage, 79,159, 274 collective artwork, 164-67 Comden, Betty, 340, 341-42, 344 communication, production of common basis of, 215 community project, total artwork as, 113-14 conceptual art: Adornian interpretation and, 113-17; characteristics of, 112; dialogism and, 117-23; fragment(s) Index 457 conceptual art (continued) and, 120; precursor to, 115; total artwork as, no-11; in twentieth-century, 111-12; Young's example of, 123-27 concrete poetry, 307, 316, 324 concretist movement, 77-78 conductor: positioning of at center of orchestra, 184-85; Wagner as, 185-87, 186 confluence, Schoenberg's aspiration to, 206 Connor, Steven, 192-93 constellative act or form, 332.-33 constructivism, 224, 295, 296 contemporary total artworks, 25, 144- 46 Craig, Edward Gordon, 219, 220 cross-disciplinarity, 193 cubism, 258, 259, 260 culture, Wagner on, 95-96 Cunningham, Merce, 103 Curtis, Pavel, LambdaMOO, 165-66 Curtius, Ernst Robert, 236 cybernetics, 163 Dada: art, culture, and, 279; chance and, 100-101; Gropius on, 265; Schwitters on, 273; Simultangedicht and, 307, 313-16 dance: Cage and, 104; cinema and, 338— 39; folk music and, 201; gesture as form of, 217, 218; Kelly and, 336, 34G 342; Klee and, 235, 238, 251; modern, 235-36; in Singin' in the Rain, 339, 343; Taut and, 267; Utopia Station and, 134, 137; Wagner and, 198 Danto, Arthur, 30 Darboven, Hanne, no, 112 Davies, Char, Osmose, 164 Davis, Death of Marat, 45 de Campos, Augusto, 323-24, 325 de Campos, Haroldo: Galaxias, 307, 318, 323-26; Ideogram: Logic, Poetry, Language, 317; Pound and, 318 De Carlo, Giancarlo, 128 decomposition, fragment and, 68-69 Deleuze, Gilles, 51, 233-34 De Maria, Walter, 124-25 de Stijl, 281, 283, 284 determinacy: artworks and, 106-7; Cage critique of, 105; Mallarmé critique of, 98 Deutscher Werkbund, 289 de Wyzewa, Teodor, 115-17 diagnosis of the times, 57-60, 381- 82m 21 dialogic principle/dialogism, 118-19, 121, 127 Diderot, Denis, and ruin aesthetics, 63- 65 Die Brücke, 259 Die Form (journal), 289-91, 290, 291, 292, 293, 294 digital artists, 163-64 disintegration: completed work as rejection of, 74-85; fragment and, 57-58, 60-62, 65-67, 68-73 disjunction/discord: aesthetic chance and, 106, 108; in contemporary total artwork, 25; Dadaists and, 101; Gesamtkunstwerk and, 87; indirect path and, 86; nature and, 90; roads to totality and, 91; Schiller on, 89; Wagner and, 92, 93, 96 Disney company, 301, 302-3 dissipative formal approach to musical works: constitutive parts of, 348-49; definition of, 346-47 distant view (Fernsicht), 169 disunity of Gesamtkunstwerk, levels of, 87-88 drama: music drama and The Lucky Hand, 202-8; during nineteenth century, 212-13; "performance as such" 219-21; Wagner and, 213-14, 349- 56. See also Bayreuth festival; Fest-pielhaus theater; theater drawing. See painting drawing, as total artwork, 239, 250, 252. See also Klee, Paul Dresden, 172, 173, 174-75 Duchamp, Marcel, 112, 194 Dump (Büchel), 142-43, 143, 144 Dunbar, William, 309 Durham, Jimmie, 139 458 Index E.A.T. (Experiments in Art and Technol-ogyJ* 159. 166 Eckhart, Meister, 267 Einstein, Carl: The Art of the Twentieth Century, 227, 230-31; Bebuquin, 2.31; Benn and, 83; concept of totality of, 231-34; The Fabrication of Fictions, 229-30; fragment and, 77; Klee and, 227, 228-29, 230-31, 2-38-39, 242, 245, 246, 252; on simultané, 244 Eisenstein, Sergei, 317 elevation of art, 81-83 Eliasson, Olafur, 143 enactment, 194 Engelbart, Douglas, 163 Evans, Cerith Wyn, poster by, 138 exchange-value modernity, 331-32 Experiments in Art and Technology (E.A.T. ), 159, 166 expressionism: architecture and, 255- 56, 258, 2J9, 261, 265-66; Schwit-ters and, 274 Fantasia (film), 301, 302-3 Farneth, David, 123 Feiniger, Lyonel, 281 Fenollosa, Ernest, 316, 324 Festpielhaus theater: auditorium of, 170-72, iji, 176-81,180; design of, 156-57,162; exterior of, 180-81; Hitler and, 164; invisibility and, 170; magic and, 181-85; mechanization and, 181; orchestra pit of, Г71,183, 183-85,184; as provisional, 176-77; raising curtain irt, 181-82; stage of, 169, 182, 218-19. See also Bayreuth festival Feuerbach, Ludwig, 113,198 Fichte, Johann G.: The Characteristics of the Present Age, 58-59; The Purpose of Higher Education, 38; Science of Knowledge, 41-42, 57 Finnegans Wake (Joyce): A. de Campos and, 315; multilingual puns in, 3x8- 23; self-translation and, 308 Fischinger, Otto, 303 Fisher, Scott, x 60,161 Flusser, Vilém: on H. de Campos, 325; "dialogue" and, xi8; total artwork and, 115, 395П. 1; Vampyrotheutis iri-fernalis, 121-23 Fluxus, 104,105, 112,159 Flynt, Henry, 123, 125 folie utile, 86, 99, 106,108 "the folk": as artists of the future, 114; identity and, 335; redemption and, 94-96 folk music, 201 formal drive, 89, 90, 102 Formelkomposition (formula composition), 358-62, 363, 366 Forster, Leonard, 313, 318 Foucault, Michel: Deleuze and, 233-34; "heterotopia" and, 82; Klee and, 243- 44, 252; The Order of Things, 192, 252 4'33" (Cage), 104,105, 106, 165 fragment: absent totality and, 90; Adorno and, 65-67; Bernhard and, 69-73; desire to express infinity via fragmentation, 20-21; disintegration and, 57-58, 60-62, 65-67, 68-73; Kandinsky and, 120; multilingual text and, 308, 311; ruin aesthetics and, 62-65; F. Schlegel and, 52-53; success and Pyrrhic victory of, 67-68; as tendency, 54-60; totality and, 49-51. See also Athenaeum Freed, Arthur, 340, 344 French Revolution, 65 Frenhofer, 35 Fried, Michael, 8 Friedrich, Caspar David, 45,172 Fromm, Erich, 74 futurists, ij8, 164 Galaxias (H. de Campos): description of, 307; as multilingual text, 323-26; quote from, 305; translator of, 318 Gautier, Théophile, 33-35 genre and romanticism, 44-49 Géricault, Théodore, 44~45 65 German expressionism, 255-56, 259, 265-66 German romanticism, 38, 311-12 Germany, as model for Europe, 275- 76 Index 459 Gesamtkunstwerk: Adorno and, 330- 36; aesthetic level of, 4-5; Alizart on, 144; blending, merging, and, 3-5, 25; chronological overview of, 10-12; conditions identified within discourses on, 209-10; definitions and incarnations of, 2, 395П. 1; double history of idea of, 15; "dynamiting" of concept of, 25; frame-denial of, 107; Gesamtwerk compared to, 282-83, 284-85; historical and philosophical investigation of, 1-2; ideological side of, 209; Left thinking about, 329-30; levels of disunity of, 87-88; metaphysical level of, 5; Moholy-Nagy on, 158-59, 282; multisensory effect of, 307; music as, 191, 193, 208; Nesbit on, 130; as passive and intoxicating, 187-88; relevance of, 2-3, 6-7; romanticism and, 15, 35-36; as sacrificial object lesson, 327; self-critical or ironic, 20; Stock-hausen on, 366; Trahndorff and, 170; in Vienna, 199-200; Wagner and, 94, т55~5б, 157-58, 351. See also total artwork Gesamtwerk and Moholy-Nagy, 277, 282-83, 284-85, 303 gestural theatrical representation, 351 Gideon, Siegfried, 293-94 Gillick, Liam, 134, 136 Gleichschaltung, 6 Glissant, Edouard, 128, 132, 136-37 "gnostic" historicizing, 79 Godard, Jean-Luc, 340 Goethe, Johann Wolfgang von: classicism and, 211; as director of Weimarer Hoftheater, 212; Moritz and, 85; multiple artwork and, 351; F. Schlegel and, 55, 61; Urpflanze and, 363; Zauberlehrling, 301 Goldberg, Ken, Telegarden, 161 Göll, Yvan, 308, 321 Gomringer, Eugen, 307 Gothic cathedrals, 262-63 Grassi, Ernesto, 79 Gréaud, Loris, Cellar Door, 149 Green, Adolph, 340, 341-42, 344 Greenberg, Clement: on abstract modern painting, 48; on folk art, 40; on purity in art, 196-97; synthesis of arts and, 8; "Towards a Newer Laocoon" 13 Grisey, Gérard, 349 Gropius, Walter: Bauhaus manifesto, 15, 281, 282, 378m 24; Bauhaus project and, 199-200; on destiny of Bauhaus, 264-65; Deutscher Werkbund and, 289; dynamic modular ideas of, 294; as expressionist, 254; Gestaltung and, 275, 276; Itten and, 283; Theater of the Bauhaus, 162; "total theater" and, 287-88; Work Council for Art and, 257, 262 Grosz, George, 279, 280 Grutman, Rainier, 308 Haacke, Hans, 112 Hablik, Wenzel, 274 Hall, Stuart, 138-39 Hamacher, Werner, 312-13 Hamann, Johann Georg, 77 Hanslick, Eduard, 182, 200 happenings, 103, 112, 145, 165 Hardenberg, Friedrich von. See Novalis Harrison, Lou, Music Primer, 197 Hausenstein, Wilhelm, Kaiman, 227 Heartfield, John, 279, 280, Hegel, G. F. W., 30-31, 80 Heidegger, Martin, 76, 144, 150 Heilig, Morton, Sensorama of, 160 Heine, Heinrich, 59, 61-62 Heizer, Michael, Double Negative, 29 Herder, Johann Gottfried, 213, 216, 351 Hershman, Lynn, 163-64 heterotopia, 82 Higgins, Dick, 159 Hildebrand, Adolf, 169 Hitler, Adolf, 155, 164, 188 Hocke, Gustav René, 80 Hodgson, Richard, 306 Hoffmann, E. T. A.: absolute music and, 3:97-98, 2.08; fragments and, 61; music and, 263; theater and, 212-13 Hofmannstahl, Hugo von: on contradiction of art, 81; "Letter to Lord Chan-dos" 72, 75 Hölderlin, Friedrich, 79, 80, 84, 147 Höller, Carsten, 135 Holliday, Judy, 342 460 Index Hollywood musical, 336-39 Holquist, Michael, 121 Horn, András, 309-10 HPSCHD (Cage), 104 Huelsenbeck, Richard, 314 human-computer interface, 162-64 Huszár, Vilmos, 283 Huyssen, Andreas, 5 hybridity, 192,197, 306 Ichiyanagi, Toshi, 125 idea, total artwork as, iio-ii, 127 "idea-art" 112, 114 idealism, 41-42, 108, 211 idea-ness, as characteristic of total artwork and conceptual art, 123-27 identity, lie of, 334-35 ideogrammic method of Pound, 316-18, 3^4, 325 Iffland, August Wilhelm, 212 imagination, as characteristic of total artwork and conceptual art, 123-27 Immermann, Karl Leberecht, 2x2 impossible realizations of artwork, 32- 36, 49-50, 51 infinity: aesthetic chance and, 22, 86, 105-9; artistic paths taken to reach, 86; indirect path to, 86, 101-3; Mallarmé and, 98, 99-100; music and, 197; open totality and, 88, 90; romantics and, 8, 20, 39, 47; Wagner and, 93 96 In Search of Wagner (Adorno), 16, 1x5, 328-30 installations, 112,161,166, 348. See also Dump; Utopia Station integration of arts in music theater, 157- 58 "intensity" in aesthetic discourse, 231- 34 interactivity: collective artwork and, 164-66; dissolving boundaries and, 158-59; future as under construction, 166-67; theatrical edifice as interface, 161-64; virtual reality and, 159-61 interart relations, study of, 372m 6 interdisciplinarity, 193 Internetand collective experience, 165- 66 intoxication theme in work of Wagner, I 68—69 Itten, Johannes, 283 Janeo, Marcel, 3 Г4 Jaques-Dalcroze, Emile, 2x9, 220 Jaspers, Karl, 76 Jay, Martin, 101 Jennings, Terry, 125 Johnson, Dennis, 125 Johnson, Ray, 125 Joyce, James, Finnegans Wake: A. de Campos and, 315; multilingual puns in, 318-23; self-translation and, 308 Jünger, Ernst, 264 Kac, Eduardo, 118-19, 121 Kael, Pauline, 338 Kalivoda, Frantisek, 296-97 Kandinsky, Wassily: "Abstract Synthesis on the Stage" 120; Behne and, 259; "On Stage Composition" 119-20; open idea of total artwork and, 126- 27; Taut on, 259; as theorist of dialogue and communication, 118; The Yellow Sound, 3 2 Kant, Immanuel: Critique of Judgment, 31, 42; Einstein and, 231, 233; focus imaginárius, 149; notion of autonomy, in Kapoor, Anish, Marsyas, 29 Kaprow, Allan, 165 Каппа, Anna, 340 Kathakali tradition, India, 368 Kay, Alan, 163 Kelly, Gene: dance and, 336, 341, 342; politics of, 341, 342, 344; Singin' in the Rain and, 339 Kempelen, Wolfgang de, 190 Kenner, Hugh, 316, 317 Kerr, Alfred, 308, 309 Kessel, Martin, 85 Kiarostami, Abbas, 134 Kirby, E. T., 165 Klee, Paul: on artwork as genesis, 78; from body to form in works of, 236- 39; Einstein and, 227, 228-29, 230- 31, 238-39, 242, 245, 246, 252; Hausenstein and, 227; Joyce and, Index 461 Klee, Paul (continued) 320; Make Visible, 242-44, 243; on modern art, 236-38; modern dance and, 235-36; monumentality and, 231; Moved Soul, 248-50, 249; On Modern Art, 237; pathos and, 234- 35, 246, 247, 248-50, 249; Pathos II, 246, 247, 248; on people's participation, 378m 24; Phantom in the Making, 244-46, 2 4j; Physiognomy of a Dream, 240-42, 241; The Presentation of the Miracle, 239-40, 240; satire and, 239, 250-51; The Satirical Muse, 251; on temporal and spatial art, 232; Walser and, 229; "whole" as taking shape in works of, 239-50 Kleist, Heinrich, 60-61, 78 Klüver, Billy, 159, 166 knowledge and signs, 192 Kokoschka, Oskar, 279 Koselleck, Reinhart, 257, 267 Kosuth, Joseph, 112, 113 Kracauer, Siegfried, 59, 187, 295 Krauss, Rosalind, "Mechanical Ballets" 301-2 Kroll Opera House, 294, 299 Krueger, Myron, Videospace, 163-64 Krysinsky, Wladimir, 317 Lacan, Jacques, 75 Lamartine, Alphonse Marie Louis de Prat de, 61 Landauer, Gustav, 264 Lavater, Johann Kaspar, Physiognomie Fragments, 54 Leary, Timothy, 145 Le Corbusier, 265, 266 Leiris, Michel, 248, 420m 81 leitmotif technique, 157, 217, 352-53, 354-56 Leonardo da Vinci, 62 Lessing, Gotthold Ephraim: fragment and, 53; Laocoon, 8, 45; "Laokoon doctrine" 232 Levinson, Jerrold, 197 Lévy, Pierre, Collective Intelligence, 166- 67 LeWitt, Sol, HO, 1 1 2 Ligeti, György, 349 Light (Stockhausen): compositional process for, 359; Formelkomposition and, 358-62; formula and architectonic in, 362-63; movement and space in, 363-65; music and text of, 366-67; open space of multiplicity in, 367-69; "theatrical music" and, 365- 66 Light Cathedral (Speer), 297-98 Light Play: Black-White-Grey (Moholy- Nagy), 277, 295, 296 Light Prop for an Electrical Stage (Moholy-Nagy): accounts of, 277, 279, 300-301; ambitions for, 293, 297; anthropomorphism of, 301-2; conceptual genesis of, 279, 299-300; contemporary reviews of, 293-94; film about, 277, 295, 296; funding for, 288-89; graphic representation of, 291; influences of, on paintings, 296; original text describing, 289-90; perceptions of, 295; photograph of, 290, 290-91; schematic drawing of, 291, 292, 293; spread for in Die Form, 289-91, 290, 291, 292, 293; unveiling of, 277, 2 j8; as work of art, 3°4 Lippard, Lucy, 112, 114 Lissitzky, El, 270 Liszt, Franz, 175, 44in. 9 Loisy, Jean de, Traces du sacré, 150 Lötz, Wilhelm, 294, 295, 297-98 Lucan, Marcus Annaeus, 52, 69 The Lucky Hand (Schoenberg), 202-8 Lukács, Georg, 78 Mach, Ernst, 231-32 Maciunas, George, 124 Mac Low, Jackson, 125 Maderna, Bruno, 349 Maeterlinck, Maurice, 221 magic and Bayreuth Festival Theater, 181-85 Ma Group, 165 Mahler, Gustav, 201-2 Make Visible (Klee), 242-44, 243 Mallarmé, Stéphane: The Book, 12, 96- 97, 98-100, 323; failure of, 33; "Igi-tur" 99, 109; response to Wagner, 462 Index 96-99, 1 об; on roll of dice, 107-8; A Throw of the Dice, 31J, 323 manifesto: The Art-Work of the Future as, 113; Bauhaus, íj, 281, 282; de Stijl, 281; Proletkunst, 270; of total artwork as conceptual art, no-и Mann, Thomas, 71-72, 78, 330, 361 Marc, Franz, 238 Marinetti, F. T., 164 Marx, Karl, 174, 175 material drive, 89, 90, 92, T02 Maxfield, Richard, 125 mechanization at Bayreuth theater, 181, 190 Mekas,'Jonas, 136 memory and fragmentation, 53 Mendelsohn, Erich, 260-бг, 267 Mendelssohn, Félix, 185 Mendes, Odorico, 325 Mercier, Louis-Sébastien, 59, 65 Merleau-Ponty, Maurice, Phenomenol- • ogy of Perception, 194-95 Merzbau, 267-74 Meyerhold, Wsewolod, 219, 220-21, 225,415m 45 Middle Ages: cathedral as center of totality in, 257; modernity compared to, ' 267 Miller, George, 131 mimesis, aesthetic and political, 255-56 minimalism, 112 modern, reflection on concept of, 75-77 modernism: Alizart on, Г44-50; auto-reflexive movement in, 48; cannibalism and, 326; hybridity and, 192; Klee and, 236-38; literary, 308, 310, 366; multilingualism, translation, and, 312 modernity: Baudelaire on, 40,108; exchange- value, 331-325 Middle Ages compared to, 267; total artwork and, 253-54 .. Moholy, Sybil, Experiments in Totality, 300-301 Moholy-Nagy, László: autonomy and, 303; Bauhaus and, 282, 283-84; on class struggle, 279-80; on Gesamtkunstwerk, Г58-59, 283-84; on Gesamtwerk, 15, 277, 282-83, 284- 85; on l'art pour l'art, 295; as Left thinker, 298-99; Light Play: Black- White-Grey, 277, 295, 296; "On the Problem of New Content and New Form" 280; painting and, ¿88, 295- 97; Painting Photography Film, 282- 83, 284, 285; set designs for Kroll Opera, 294; as sorcerer's apprentice, 301, 304; technology and, 297, 298- 99; "Theater, Circus, and Variety" 286-87; theater and, 286-87, 288, 298; The Theater of the Bauhaus, 285; "Theater of Totality" 162; Vision in Motion, 279, 302-3. See also Light Prop for an Electrical Stage Molnár, Farkas, 285 Mondrian, Piet, 270 Monnier, Adrienne, 321 montage, 79, 110, 324. See also Utopia Station monumentalny: Klee and, 23 t, 250; totality of Gesamtkunstwerk compared to, 29-30; Wagner and, Г76-77 More, Thomas, 134 Moritz, Karl Philipp, 85 morphogenesis, 238 Morris, Robert, 112 Morris, William, 263 Moved Soul (Klee), 248-50, 249 movement: Klee and, 238, 242, 251-52; phenomenon of, 234-35; space and, in Light, 363-65 multidisciplinarity, 193 multilingual texts: H. de Campos and, 323-26; Joyce and, 318-23; Pound and, 316-18; purposes for, 308-ro; Simultangedicht, 313-16; translation and, 311-13, 320-23 multilogic interaction, 121-22, 127 multimedia: demise of function as basis for autonomy of performance, 224- 26; The Lucky Hand as, 205-6, 207- 8; "performance as such" and, 219- 2i; Piscator and, 222-23; in twentieth century, 210-11; Wagner and, 210, 213-19 Mündt, Theodor, 84 Munich, Wagner in, 176 museums, and total artwork, 748—49 Index 463 music: Adorno on, 332-34; Appia and, 219-20; art and, 196-97; conductor of, 184-87,186; connection of words to, 216; as cultural enactment of framing sound, 194; dissipative formal approach to works of, 346-47, 348-49; of folk, 201; identity between poetry and, 333-34; as imminent Gesamtkunstwerk, 191, 193, 208; The Lucky Hand, 202-8; as model for other arts, 263-64; orchestra pit at Bayreuth, 183, 183-85, 184; plurilinguistic text and, 315; program music, 200-201; romanticism and, 42-43; structure of instrumental, 217; "theatrical music" 365-66; of Wagner, 91-93, 185-87, 186, 190; Wagner on, 215. See also absolute music; strong formal approach to musical works musical, Hollywood, 336-39 musical research, 346 "musical theater" 365 music drama: cinema and, 336-37; The Lucky Hand, 202-8; Wagner and, 350 Musicircus (Cage), 104 Musil, Robert, 72, 73 Muthesius, Hermann, 261-62 myth: as intrinsically multiple, 368; narrative directionality of, 353-54; production of a common basis of communication and, 215 Nabokov, Vladimir, 308 nationality, sentiment of, 270 National Socialism, 6, 173, 298, 327 nature: artwork and, 237-38; change in valency of, 103; chaos of, 89-90, 93; Wagner conception of, 93-96 Nealon, Jeffrey T., 118 near view (Nahsicht), 169 Nesbit, Molly, 128, 129-32 Newman, Michael, 112 New York Metropolitan Opera, 178,179 Nietzsche, Friedrich: Contra Wagner, 36; synthesis of arts and, 8; on Wagner, 168-69; on W'H toward destruction, 82-83 Nochlin, Linda, 65-66 Noh theater, Japan, 8, 368 Noigandres poets, 323, 326 nonfinito, aesthetics of, 62-63 Nono, Luigi, 349 Nordau, Max, Degeneration, 182-83 Notes for a Romantic Encyclopaedia (Novalis), 20, 47, 90 Novak, Marcos, 161 Novalis: failure of, 33; fragment and, 53, 54; Heinrich von Ofterdingen, 48; impossible realization and, 51; "me formula" and, 41; multiple artwork and, 351; Notes for a Romantic Encyclopaedia, 20, 47, 90; on novelist, 74; open totality and, 90; on poesy, 43; romanticism and, 211; unity and, 87 November revolution, 255 Obrist, Hans-Ulrich, 128 Okuda, Osamu, 251 The Oldest System-Program of German Idealism (anon.), 39 Olsen, Charles, 103 Ono, Yoko, 125 On the Aesthetic Education of Man (Schiller), 37-38, 57-58, 89, 90 open form/open work/open totality: definition of, 5; forms of, 106; Gesamtkunstwerk as, 9; Schelling and, 88; F. Schlegel, Novalis, and, 90; weak dissipative formal approach, 346-49. See also chance, aesthetics of opera: as European total artwork, 3 3 6— 37; musical avant-garde and, 440П. 1; Wagnerian drama compared to, 352 Opera and Drama (Wagner), 211, 213, "4-15, 354 opposites, unification of, 99, 101 organicism, 363 organic totality: revolution, architecture, and, 256, 257; romantic work and, 42; Schlemmer and, 275; Siegfried and, 205 organic unity, i, 5, 12, 16 original flaw of painting, 260 Oseki-Dépré, Ines, 318 Ostermann, Eberhard, 53 Ozenfant, Amédée, and Charles- 464 Index Edouard Jeanneret, After Cubism, z6$—66 Paik, Nam June, 125 painting: Lessing's rule of, 232; Moholy- Nagy and, 288, 295-97,• original flaw and, 260; plurilinguistic text and, 315; transfer of conventional signs into space of, 243-44 Painting Photography Film (Moholy- Nagy), 282-83, 2-84. 2.85 pantheism, 30 paragon, ideology of, 262 participants/spectators: at Bayreuth, 169, 171, 181; common basis of communication between artist and, 215; creative responsibility of, 166; Light Prop and, 302; manipulation of, r87- 88; Meyerhold and, 415П. 45; models of, 285-87; relationship to stage, 162- 64; relationship to works, 15-18; sensory overload of, 337; for Singin' in the Rain, 343; Wagner and, 172 Pater, Walter, 192, 196 pathos: as first postulation of art, 234- 3 6; in work of Klee, 246, 247, 248- 50, 249 Pathos H (Klee), 246, 247, 248 perfection and art, 76 performance, acceptance of as art, 225- 2-6 "performance as such" 219-21 periodicals, use of fragments in, 54-55. See also Athenaeum phantasmagoria, 16, 92,188 Phantom in the Making ¡Klee), 244-46, 24S phenomenology, 194-95 Physiognomy of a Dream (Klee), 240- 42, 241 Pignatari, Decio, 3 23 Piscator, Erwin, 222-23, 225, 287, 294 plastic expression, 281, 284 poesy/poiesis: definition of, 3; Novalis on, 43; F. Schlegel on, 46-47; of truth, 36 poetic theater, 97-98 poetry: identity between music and, 333~ 34; as organon of absolute whole, 40; romanticism and, 42—43; Wagner on, 214-15 political mimesis, 255-56 polyglot puns, 318 Pop, 1X2 portmanteau words, 319 postmodernism: Alizart on, Г44-50; Protestantism, modernism, and, 146- 47,150-51 postromanticism, and fragment, 60 Pound, Ezra: Cantos, 309, 315, 323; ideogrammiс method of, 316-18 Poussin, Nicolas, 35 The Presentation of the Miracle (Klee), 239-40, 240 "A Program for Architecture" (Taut), 254-55, 260, 262 program music, 200-201 proscenium arch of theater, /61-62, 182 Protestantism, modernism, and postmodernism, 146-47, 150-51 Proudhon, Pierre-Joseph, 11 Rancière, Jacques, 129-30, 135-36, 146 Raqs Media Collective, 139 Rauschenberg, Robert, 103 realism of Klee, 238-39 reconciliation in art, 81 redemption: aesthetic chance and, 105- 9; Alizart on, 146, 150; "the folk" and, 94-96; romanticism and, 86-87, 93; romantic work and, 42; totality and, 32; Wagner and, 96 Reger, Roman, 72-73 Reichardt, Johann Friedrich, Lyceum of the Fine Arts, 54 Reinhardt, Max, 219, 221, 224 revolution: architecture and, 257-60; art and, 279-80; The Art-Work of the Future and, 36-37; cathedral as temporal model and, 266-67; cubism and, 259; expressionism and, 255-56; Merz, 268-70; Schwitters and, 273- 74; total artwork and, 254 Revuers, 342 rhizome, image of, 5 r rhythmic theater, 220-21 Richards, M. C., 103 Index 465 Rihm, Wolfgang, 349 Riley, Terry, 125 Rilke, Rainer Maria, 76, 78, 84 The Ring of the Nibelung (Wagner), 214, 218, 352-53, 354, 412П. 14 Risset, Jacqueline, 321, 322 Robert, Hubert, 63 Roche, François, Waterflux, 139 Roinard, Paul-Napoléon, Solomon's Song of Songs, 11-12 romanticism: aesthetic premises of, 211- 14; Alizart on, 145; "black" 235; community and, 38-39; continuing presence of, 2-3; dualism in, 89-90; early, 211; fragment(s) and, 49-51, 54-60, 120; German, 38, 311-12; Gesamtkunstwerk and, 15, 35-36; influences on, 37-38; limits, genres, and, 44-49; literary, 366; nature and, 237; redemption and, 87, 93; unity and, 8, 40-41, 42-43, 145-46. See also Athenaeum romantic monothematism, 44m. 9, 443m 47 Rosa, Guimaräes, 318 Rosler, Martha, 136 Rot, Dieter, 125 Roth, Joseph, 72 ruin aesthetics, 62-65 Runge, Philippe Otto, The Times of the Day, 46 Ruskin, John, 263 sacredness of total artwork, 150-51 Saint-Saëns, Camille, 169, 183-84 Saint-Simon, Henri de, 254 Saint-Simonians, 253, 256, 260 Sala, Anri, 136 Sarkonag, Ralph, 306 Scharoun, Hans, Letter of the Gläserne Kette, 267, 2 68 Scheerbart, Paul, 267 Schelling, Friedrich: on consciousness, 108; System of Transcendental Idealism, 88; theater and, 212-13; unity and, 87 Scherer, Jacques, 100, 106 Schilder, Paul, 195-96 Schiller, Friedrich: classicism and, 211; dramas of, 212; drives and, 90, 102; on great art, 85; On the Aesthetic Education of Man, 37-38, 57-58, 89, 90; On Naive and Sentimental Poetry, 39; pathos and, 234; on unity, 106 Schindler, Alma, 199 Schlegel, August Wilhelm: multiple artwork and, 351; On Literature, Art and Spirit of the Age, 58-59; romanticism and, 211; synthesis of arts and, 8. See also Athenaeum Schlegel, Friedrich: on artwork, 77; Dialogue on Poetry, 40; disintegration and, 58; failure of, 33; fragment and, 50, 52-53, 61; multiple artwork and, 351; "On Incomprehensibility" 56- 57; On the Study of Greek Poetry, 55; open totality and, 90; poetics of fragment, 67-68; on poetry, 51; romanticism and, 211; on romantic poesy, 46- 47; synthesis of arts and, 8; on total artwork, 42; unity and, 87; on universality, 106; "Versuch über den Styl in Goethes früheren und späteren Werken" 55. See also Athenaeum Schlegelian fragmentarism, 54-57, 64-65 Schleiermacher, Friedrich, 56, 194, 351 Schlemmer, Oskar: as director of Bauhaus stage, 162; "Man and Art Figure" 285-86; reconciliation and, 275, 276; Triadic Ballet costumes, 289; triadic ballets of, 31 Schnebel, Dieter, 349 Schoenberg, Arnold: Adorno and, 333; Anticipation, 202-3; Tfce Burial of Gustav Mahler, 202; The Lucky Hand, 202-8; Mahler and, 201-2; on stage, 155; Stockhausen and, 363; strong formal approach to musical works and, 349, 358, 369; Theory of Harmony, 201-2 Schopenhauer, Arthur: in Dresden, 172; Wagner and, 95; Wille and, 93-94, 102, 103 Schwitters, Kurt: Merzbau and, 254, 267-74; Merzsäule, Hannover, 272; Proletkunst manifesto, 270 Scriabin, Alexander Nikolayevich, Prometheus, 46 466 Index sculpture, natural or poetic sublime aesthetic and, 29 Sebald, W. G., 49 Sebők, Stefan, 289 Second Viennese School, 13 Sedlmayr, Hans, 79 Segall, Tino, 131 Sekuła, Allan, 136 self-translation and multilingual texts, 308 Semper, Gottfried, 172, 174-75^176, sensualist aesthetic, 213, 223-24 sensualist positivism, 231-32 serialism, 347, 358-59, 360-61, 363- 64 Shakespeare, William, song occurring twice in works of, 345 Shaw, George Bernard, 178, 181,182, 184 Shaw, Jeffrey, Legible City, 161 Shaw-Miller, Simon, 115, 192 Siegelaub, Seth, 112 Simmel, Georg, 59 Simon, Claude, The Flanders Road, . 3 0 5 - 6 simultané technique, 244 Simultangedicht, 307, 313-16 Singin' in the Rain (film), 336, 338-40, 341-45 "Singin' in the Rain" (song), 344 Sloterdijk, Peter, 49 "small" turn toward, 229 Smithson, Robert, Spiral]etty, 29 social identitarianism, 335-36 Sontag, Susan, 168, 229 sorcery, 170, 185-90 Soupault, Philippe, 321 spectators. See participants/spectators Speer, Albert, Light Cathedral, 297-98 Spengemann, Christoph, 270 Spengler, Oswald, 264 Spero, Nancy, 139 spiritual wholeness as aesthetic category, 227-31, 252 Spitzer, Leo, "Language Mixing as Stylistic Device and Expression of Acoustic Inventiveness" 308-9 stage design: for Festpielhaus theater, 169, 182, 218-19; revolving stage, 221; spectator relationship to stage and, 162-64 Stanislawski, Konstantin, 220 Starobinski, Jean, 64 statuary, as perfect art form, 30-31 Steiner, George, 230 Stockhausen, Karlheinz: Formelkomposition and, 358-62, 363, 366; on Gesamtkunstwerk, 366; Momenttechnik and, 363; Piano Piece Xl, 349; strong formal approach to musical works and, 369; techniques and processes of, 357; Wagner and, 356-58. See also Light Strindberg, August, 203 strong formal approach to musical works: centripetal design of, 347; closed totality and, 352-53; constitutive parts of, 347-48; definition of, 346-47; Formelkomposition and, 358-62; leitmotif technique and, 354-56; multiplicity and, 351; narrative directionality of myth and, 353- 54; Wagner and, 349-56. See also Light surrealism: chance and, 100-101; dreams, unconscious, and, 103; Einstein and, 228; Gesamtkunstwerk and, 20 Sutherland, Ivan, 160 symbolism: Schoenberg and, 207; total artwork and, 117; Wagner and, 11- 12, X15 synesthesia: absolute music and, 191; culture of, 192-93; Merleau-Ponty on, 194-95; neurological, 192; Schilder on, 195-96; spectacles and experiments in, 374m 18; work of Schoenberg and, 14,199-208; work of Wagner and, 14 synthesis: debate on desirability of, 8; at heart of Gesamtkunstwerk; 31-32 Szeemann, Harald: Live in Your Head, 1X2, 123; "tendency toward total artwork" 229 Taut, Bruno: architecture and, 256; on architecture and music, 263; on artistic revolution, 258; on artists of Mid- Index 467 Taut, Bruno (continued) die Ages, 257; cathedrals of, 274; on Kandinsky, 259; opposition of line to color and, 259-60; "A Program for Architecture" 254-55, 260, 262; utopia and, 267 techno-utopianism, 298-99 telepresence, field of, 160-61 tendency, fragment as, 54-60 theater: architecture of, 161-62, 182, 217-18; Bauhaus and, 285; integration of arts in, 157-58; as interface, 161-64; Light Prop and, 302; Moholy- Nagy and, 286-87, 2-88, 298; poetic, 97-98; preromantic forms of, 7-8; reformers of, in twentieth century, 210- II, 219-21; revolving stage in, 221; rhythmic, 220-21; Schlemmer compared to Moholy-Nagy on, 285-87; "total theater" 287-88; virtual reality and, 159-61; Wagner and, 156-57, 190. See also drama; Festpielhaus theater "theater of totality" 162, 287, 298 "theatrical music" 365-66 Tieck, Ludwig, 43-44, 211 Tiravanija, Rirkrit, 128, 130, 134 total artwork: as community project, 113-14; as conceptual art, 110-11; contemporary, 25, 144-46; definition of, 253-54; drawing as, 239, 250, 252; Flusser and, 115, 395n. 1; freeing from ghost of Adornian interpretation, 113- 17; idea-ness as characteristic of, 123- 27; Kandinsky and, 126-27; modernity and, 253-54; museums and, 148- 49; as open and borderless, 117-23; opera as, 336-37; revolution and, 254; sacredness of, 150-51; F. Schlegel on, 42; symbolism and, 117; Szee-mann and, 229; Wagner and, 113-14, 115. See also Gesamtkunstwerk totality: aesthetic chance and, 105-9; anthropophagy and, 326; of community vs. egoism, 36-41; direct path to infinity and, 86; Einstein and, 229; figures of impossibility, failure, and apo-ria, 32-36; fragment(s) and, 49-51; in German expression of Gesamtkunstwerk, 29-32; indirect path to infinity and, 86, 101-3; maximal, 106; medieval, cathedral as center of, 257; minimal, 106; nature of, 5-6; one and nature, 41-44; as question of intensity, 231-34; questions of limits and genres, 44-49; redemption and, 32. See also closed totality; open form/open work/open totality; organic totality Totalkunst, 5 "total theater" 287-88 Trahndorff, Karl F. E., 10, 170 translation and multilingual texts, 308, 311-13 trash: "recuperating" 108; Schwitters and, 270-72. See also Dump Tudor, David, 103 Turkle, Sherry, 165-66 Turrell, James, 29, 145 Tzara, Tristan: "Balsam Cartouche" 313; as Dadaist, 320; "Note for the Bourgeoisie" 315; Proletkunst manifesto and, 270; tonal poetry and, 314 unity/wholeness: aesthetic, plea for, 74- 85; Alizart on, 149-50; Moholy-Nagy on, 282; Mozartian, 332; multilingual text and, 308, 309, 312-13; organic, i, 5, 12, 16; postmodernism, modernism, and, 7; romanticism and, 8, 40-41, 42-43, 145-46; spiritual wholeness as aesthetic category, 227- 31, 252; translation of multilingual text and, 311; in work of Klee, 239- 50 utopia: Adorno and, 331; Beyreuth opera house as, 11; Bloch and, 423П. 5; Einstein and, 230; expressionist, 269; Fichte and, 38; as recurring theme, 24-25; romantic, 48; Schwitters and, 274; socialist, 281-82; Taut and, 267; techno-utopianism, 298-99; Wagner and, 170, 175, 366 Utopian character of impossible realizations of artwork, 3 5 Utopia Station: activism and, 141; description of, 128-29; in Frankfurt, 141; as gathering space, 130-31, 136; Nesbit on, 129-32; posters for, 137- 38, 138, 139, 140; in Poughkeepsie, 468 Index 13ő~3 7 141; sound components to, 131-32; statements for, 138-40; for Venice Biennale, 134-36 Valéry, Paul, 66, 73 van Doesburg, Theo, 270, 282, 283, 284 VIEW system, 160 virtual reality, 159-61 Vischer, Robert, 169 Vision itt Motion (Moholy-Nagy), 279, 302-3 Voegelin, Eric, 79 Volney, Constantin François de, Ruins, 65 von Weber, Carl Maria, 172, 18 j Wackenroder, Wilhelm Heinrich, 43,48, 263 Wag пег, Cosima, 188, 224 Wagner, Richard: absolute music and, 198-99; aesthetics of, 103, 117; anti- Semitism of, 3 27; Art and Revolution, II, 94, 170, 175-76; artistic-aesthetic problem of, 334-35; Bakunin and, 173-74; compositional strategy of, 92-93; conception of nature of, 93- 96; as conductor, 185-87,186; counterrevolution and, 254; criticism of, by Adorno, 16-17, 9i "9Ł~93 3ł8i direct path to totality and, 90-93; drama and, 213-14, 349-56; in Dresden, 172,173,174-75; Gesamtkunstwerk and, 94,155-56, 157-58, 351; Greek statuary and, 31; "Jewishness in Music" 173; Kandinsky and, 120; leitmotifs of, 157, 217, 352-53, 354- 56; Mallarmé response to, 96-99, 106; material drive and, 92; mona-mentality and, 176-77; multimedia and, 210, 213-19; in Munich, 176; nationalism of, 94, 155; National Socialism and, 327; Nietzsche on, 168- 69; Opera and Drama, 211, 213, 214- 15,3 54; paths to totality and, юг; Piscator compared to, 222; politics of, xi, 36-37, 94-96, 114-15, I71_74 175; reception of, in twentieth century, 14-15; The Ring of the Nibe-lung, 214, 218, 352-53, 354? 4I2n- 14; Schoenberg and, 205, on Semper, 174-75 Siegfried, 205, 218-19; sorcery and, 185-90; on spectator, 155; stage design of, 219; stage directions of, 224-25; Stockhausen and, 356-; 58; strong forma! approach to musical works and, 349-56, 3 69; on theater, 190; themes of, 155-58,168-72; theory of art of, 214-18; total artwork and, / : 3-Í4, 115; Tristan and Isolde, 205; virtual reality and, 159-61; Wort-Ton-Drama and, 350, 366. See also The Art-Work'of the Future; Bayreuth festival; Festpielhaus theater Wagner, Siegfried, 184, 184, 188, 224 Wagner, Winifred,188 Wallerstein, Immanuel, 128, 132, 14 т Walser, Robert, "micrograms" of, 229 Warburg, Aby, 235-36, 239, 248 Waring, James, 125 Weber, Max, 75, 76 Webern, Anton, 349 Weigel, Sigrid, 246 Weiner, Lawrence, 112, 123, 136 Weiśgerber, Jean, 101 Wellérshoff, Dieter, 77 wholeness. See unity/wholeness Wiener, Norbert, 163 ¿ Williams, Emmet, 125-26 Wilson, Robert, 329 Wolff,; Christian, 126 Wollen" Peter, 338 ; A Woman Is a Woman (film), 340-41 word-graftings, 319 word-verse-melody, 216 Work Council for Art (Arbeitsrat für "Kunst), 254-55, 257, 262. Worringer, Wilhelm, 261 Wort-Ton-Drama (drama with words and music), 350, 166 Young, La Monte: an anthology of chance operations, 123-27; Composition i960, 126; Dream Houses, 46; projects of, 145 Zazaëela, Mari an, Dream Houses,46 Zeitgeist,,57-60, 79-81 Zerner, Henri, Study of Two Severed Heads, 45 '0'oo" (Cage), 104-6 Index 469 |
