Flooding the concrete: Clastoclysm and the notion of the 'continuum' as a conceptual and musical basis for a postdramatic music-theatre performance

This article explores issues that pertain to the concept of 'music-theatre as music' through a discussion of the performance Clastoclysm. Using Levi-Strauss' notion of the affinity between the domains of music and myth as a point of departure, the article presents the ways in which the performance makes use of a musicallyderived conceptual model, which is applied to mythic text in a way that evades the boundaries of structuralism. The model is based on the concept of the 'continuum', derived from musique concrste, and its application will be explored through a discussion of the process of the composition of the performance score, as well as the process of performance. In the last section of the article we will return to the original issue that informed our discussion of the musical model, and will discuss how the concept of the continuum was used to include in the performance a metalingual function as a performed clash between tonal music and musique concrete.