The production of contemporary music theatre will be developed cooperatively and collaboratively by a diverse production team (pupils, music/education students from the University of Oldenburg, vocal students from the University of the Arts Bremen, professional musicians from the klangpol network) in a production-oriented manner, brought to the stage, communicated and later presented in Rheinsberg and discursively negotiated as part of the conference. As with the previous project, a comprehensive collaboration between different target groups and professional levels is ventured.

Current music theatre works will be realised - which is quite rare within the klangpol network - with a focus on networking within the network and beyond, as well as with a focus on the development of a contemporary music theatre, dealing with a central theatrical material (Woyzeck/Büchner) and its musical examination in the form of a central atonal opera (Wozzeck/Berg), which took place during the period of classical modernism.Score-fixed, re-composed and re-arranged music meets improvised music and electronica, thematically linked in the music-theatrical setting and the political framing of "Stimme.Macht.Spiele" (conference theme in Rheinsberg).

In order to meet the complexity of the reworking of the musical templates(Wozzeck by Alban Berg, as well as other selected, thematically appropriate compositions and models of vocal work of more recent date), a (re-)composition commission will go to the composer-performer Krystoffer Dreps as part of the project, which will create the musical basis for this full-length evening of music theatre.

As a trained trumpeter (jazz) and composer (new music), Krystoffer Dreps is at home in many styles in the sense of a composer-performer and is always on the lookout for new connections and intermediate stages on which his INTER_concept is artistically based. Electronic instruments are just as much a part of his repertoire as the repeated renegotiation of composition and improvisation in his music. Recent co-operations have taken him to France and Brazil, to the electronica scene and to liaisons with the visual arts. Further information, audio samples, materials: www.krystoffer.com

In the project itself, the composer-performer will also participate with electronica and possibly trumpet, enriching atmospheric and alienating sounds and creating an even more flexible dialogue with the students (12th grade IGS Flötenteich). The idea of a favourite patchwork of sounds will also be pursued, in line with the dramaturgy of the re-composition as a central aesthetic premise (selection of material, moments, sounds, etc.). Also relevant here is the integration of the sampling approach from electronic music into the (re-)composition of Wozzeck/Alban Berg, the transfer to the world of acoustic instruments or the instrumental Pierrot line-up (plus percussion and electronica).

Georg Büchner’s *Woyzeck* (a focus of the 12th-year curriculum at IGS Flötenteich) is interwoven with Alban Berg’s *Wozzeck* (with a focus on collaboration with professional instrumentalists and vocal students at the HfK Bremen) and, by means of a re-composition by Krystoffer Dreps, rearranged, re-composed, assembled and pieced together (cf. ‘Flickoper’)
Pupils at IGS Flötenteich will be working on *Woyzeck* from the start of the 23/24 school year (a subject for the 2024 Abitur national examinations). After the autumn school holidays, students from the Institute of Music at the University of Oldenburg will join them on a more regular basis to provide guidance and support, led by their lecturer Volker Schindel and supported by the freelance actor, voice artist and physical theatre expert René Schack (University of Oldenburg & HfK Bremen), who will lead two workshops for both the school pupils and the university students.
The pupils will explore key motifs, scenes, dramatic approaches, etc. with their drama teacher Arne Kreye (IGS Flötenteich); these are further developed in dialogue with the students from the University of Oldenburg and their director Volker Schindel, and incorporated into the work of the artistic team as well as into the re-composition by Krystoffer Dreps.

In dialogue with the wider creative team, the various approaches, ideas and impulses are collated during regular dramaturgical meetings, and a shared dramaturgical framework is developed and collaboratively refined. The musical adaptations and re-compositions by Krystoffer Dreps are developed and rehearsed under the guidance of Felix Schauren in targeted preliminary rehearsals with the professional musicians, and gradually refined.
At the same time, at the University of the Arts Bremen, under the direction of Prof. Maria Kowollik, selected parts are being worked on by advanced vocal students and supplemented by further, more recent vocal pieces and vocal models from contemporary musical practice.

For the university students, this represents an ambitious music theatre project in a professional setting, which they will experience, learn from and help shape from start to finish: Through guiding and supporting the school class; through thematic explorations using the scenic interpretation of music and theatre from Oldenburg (specifically the performance concept ‘Wozzeck’ by Wolfgang Martin Stroh); and through collaboration on dramaturgy, musical work, direction, set design and costumes (in co-operation with and utilising the infrastructure of the Oldenburg State Theatre). In the process, they will also gain insights into the work of the vocal performance students with their professor, Maria Kowollik, and learn how this contributes to the (further) development of direction, character development, etc.

Following the final rehearsal phase, during which the various components and levels of the project are brought together, there will be the premiere and a second performance in Oldenburg, a further performance in Bremen and, finally, a guest performance at the Schlosstheater Rheinsberg, featuring a reflective and discursive examination of the creative process and the resulting production within the thematic framework of the ASSITEJ conference ‘Voice – Power – Play’.

A production of the Association for Music Theatre Productions at the subject of Music at the University of Oldenburg in co-operation with the Oldenburg State Theatre within the framework of klangpol, the HfK Bremen, the IGS Flötenteich (Oldenburg) and the AG Musiktheater der ASSITEJ Deutschland with the BAJMT (Bundesakademie für Junges Musiktheater) Rheinsberg.
The project is supported (in addition to the partly non-cash funds of the institutions mentioned) by "klangpol - Netzwerk Neue Musik Nordwest" (incl. re-composition commission to Krystoffer Dreps), the Barthel Foundation, the Universitäts-Gesellschaft Oldenburg e.V. (UGO) and the Institute of Music of the University of Oldenburg.