{'fraction_non_alphanumeric': 0.018272425249169437, 'fraction_numerical': 0.0, 'mean_word_length': 4.4324324324324325, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Musical Aspects In Today's Musical Theatre: A conversation between Pierre Boulez and Zoltán Peskó

I think that any search for new relations between music and theatre has to start from a negative remark: before setting a new goal, we must be sure to set aside those previously reached. Only after this can we try to shape or to renew a global conception, in a sense comparable to the old ‘Gesamtkunstwerk’, the purpose being that of subsuming music as a part of a more general plan. This is why today we often have the impression that music is not the most important factor in our experiments any more.