Saro, AnneliPappel, Kristel, toimetajaPesti, Madli, toimetaja2025-11-212025-11-2120251736-8553https://doi.org/10.58162/TCMB-1Q44https://hdl.handle.net/10062/117698Summary available in English / Kokkuvõte inglise keelesThe article draws on David Roesner’s book Musicality in Theatre: Music as Model, Method and Metaphor in Theatre-Making. But it extends Roesner’s dichotomy into a threefold division, treating musicality in theatre as a particular creative method (chapter 1), then as an aesthetic model (chapter 2), and finally as a metaphor—idea or material (chapter 3). The chapters tackle the following keywords: 1.1. ensemble, 1.2. musical instruments as agents, 2.1. numerical structure, 2.2. operatic emotion, 3.1. sound material and 3.2. abstract imagery. I have grouped these keywords into chapters according to the theatrical process and the different points of view (director and company versus spectator). Chapter 1 is related to both rehearsal processes and performing, i.e. principles of troupe formation, director’s working principles, rehearsal processes and performances should be examined. For the analysis I drew on interviews with the director, multiple viewings and video recordings of the productions. The phenomena discussed in chapter 2 are explored predominantly through performance analysis. Chapter 3 is related to the sensory and cognitive reception of the performance and the philosophical-theoretical preparation of the spectator. On the basis of this model, I analyse three productions by Estonian theatre director Lauri Lagle.etAttribution-NonCommercial-NoDerivatives 4.0 Internationalhttps://creativecommons.org/licenses/by-nc-nd/4.0/Article