Music has also been a scenic event for a long time. In the nineteenth century people still enjoyed music also with their eyes, with all their senses. Only with the increasing dominance of the mechanic reproduction of music, through broadcasting and records, was this reduced to the purely acoustic dimension. What I want is to bring the audience back to an enjoyment of music with all senses. That’s why my music is a direct, exaggerated protest against the mechanical reproduction of music. My goal: a rehumanization of music-making!

Mauricio  Kagel (1970)

If it is true that contemporary theatre and performance in general - not just within Composed Theatre - challenges the separation of the art forms that had taken place in the second half of the eighteenth century, somehow recalling or bringing forward an integrated concept of theatre, then this should also lead to changes in an educational system in which interdisciplinary courses are still very rare
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Matthias Rebstock, 2012 - 'Composed Theatre'

The assumption is that, since the sixties, a field of artistic practice has arisen that is situated between the more classical conceptions - and institutions - of music, theatre and dance, and that is highly characterised and unified by making use of compositional strategies and techniques and, in a broader sense, by the application of compositional thinking.        
                     
Matthias Rebstock, 'Composed Theatre: Mapping the Field', 2012