The o.m. theatre's music

the new, non-additive form - gesamtkunstwerk has the real event as act or course of events. it uses the event's natural sound as a means of musical or acoustic conveyance. the ecstasy of abreaction, of instincts breaking through, of the unreserved satisfaction of desires caused by dionysian excess, needs sound, wants noise. the sadomasochistic tearing apart of skinned animal cadavers, raw flesh and damp innards is driven along by ecstatic noise. noise is an essential element of a far reaching satisfaction of physical desire. bordering on the edge of pain, a maximum amount of highly intensive noise is produced. the orchestra consists principally of drums (percussion), brass and woodwind instruments, beat instruments and noise instruments of every kind. ecstatic guttural human screams are an important element of this (naturalistic), expressive music and it intensifies the event, the orgiastic occurrence. the force of sounds, never heard before, should assault and frighten us. vomited, spat out sounds from wind instruments (tubas, trombones), noise instruments and shouting are expressions from repressed areas. aggression, lust, the noise of war and sexual craving, screams of battle, death and rage, force themselves out of us. complexities of noise well out of us like slimy, bloody, tepid, warm, soft intestines spilling out of a wound.
the o.m. theatre's noise music has the capacity to reveal what is hidden. it tears repressed emotions outwards. it turns the inner feelings outwards like disembowelling an animal. the ecstatic screaming activates our whole psycho-physical organisation, cleanses senses tired from experiencing frustration, bathes what is human in a complete sensuous experience. at the time of the first abreaction play, in 1961, i had already examined the theory of the scream in great detail.
in the abreaction play, occurrences of abreaction are constructed and experienced by ecstatic releases of inhibitions. transferring back into the unconscious psychic states of the human being reveals the qualities of tragedy, the naked condition of excitement, rooted in existence that lies in the scream, behind the word. in human history the use of the scream is situated before the word that developed from the mating call.
the scream is a more direct expression of the unconscious, the sphere of instinct, than the word is. the scream situation is usually achieved when ID asserts its rights, overcomes the intellectual control, and the elementary instinct breaks through to vitality. shock-like torment, sudden extreme pleasure breaking in and all the situations that bring a decrease of consciousness with them, allow the scream to break through. the screams produced directly from ecstasy, in the abreaction play, should make it possible to sound out our deeper lying psychological conditions. it is about releasing unconscious areas of our psyche through the means of excitement and the scream; the scream being the image of excitement, and an intended regression to the early conditions of the human being. the primitive person's ego was more closely bound to the autonomic animal part of the unconscious (also to mythical religion). the negation of the word, this reversal into the ecstasy of the scream, is communication with the unconscious, a conscious analytical immersion in the unconscious. one trusts oneself to the intoxication of autonomic, often hectic dynamic laws. one escapes the 'compulsion' of the intellect.