From 1998 on first steps have been taken together with the composer for new music Friedemann Schmidt Mechau to reassess the role that music plays in theatre and to change this role with the help of a new conception. „Auditive theatre“ became the combination of music and theatre which do not mix like music as soundtrack for a theatre play but which stand next to each other related to one subject, which appear simultaneously and remain separately perceivable media at the same time. The terms of harmony and ambivalence of a so-called „eye and ear stage“, particularly the tension arising from this were successfully explored in „Medea“, „Pompinien“ as well as „Schattenriss“ in a completely new way.
With „Besuch bei Katt und Fredda“ (Youth Theatre) ,“Der blaue Stuhl“ (Children theatre) and „ Grenzgänger“ (adult theatre) composed theatre was ready to start for the first time. Music is not only an important element of the production, but the entire project is subject to a theatrical musicality. The text is understood as a score, is examined and applied for rhythmic structures and in that way it becomes a music composition together with elements of movement. The audience’ seeing and listening habits are broken through. The action is percieved with the help of a musical, sensual structure. Also the roles of the actors are explored and developed by music and rhythm. 2001 and 2003 Invitation to international producers’ seminar of Assitej, introduction of new method „composed theatre“. 2005 / 2007 developing composed theatre in Canada (Bird brain from Vern Thiessen) carousell Players and Citadel theatre.