In this paper, I will address basic aesthetic assumptions of the music theatre of Berlin-based Spanish composer Elena Mendoza and will outline the strategies of her working process in which she combines traditional score writing with a collaborative approach known from contemporary theatre or dance. I will discuss these issues referring to her two major music theatre pieces: Niebla after the novel by Miguel de Unamuno (premièred in Dresden in 2007), and La Ciudad de las Mentiras based on four short stories by Juan Carlos Onetti premièred at the Teatro Real in Madrid in 2017. As co-author of these two pieces, I give insight into our collaboration and decision-making process. In so doing I write within the methodological framework of autoethnography and participant observation.

中文翻译：

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论埃琳娜·门多萨音乐剧的美学与工作过程

在本文中，我将讨论柏林西班牙作曲家埃琳娜·门多萨 (Elena Mendoza) 音乐剧院的基本美学假设，并概述她将传统乐谱写作与当代戏剧或舞蹈中已知的协作方法相结合的工作过程策略。我将参考她的两部主要音乐剧作品来讨论这些问题：根据 Miguel de Unamuno 的小说改编的 Niebla（2007 年在德累斯顿首演），以及根据胡安·卡洛斯·奥内蒂（Juan Carlos Onetti）的四篇短篇小说改编的 La Ciudad de las Mentiras 在皇家剧院首演2017 年在马德里。作为这两篇文章的合著者，我深入了解了我们的合作和决策过程。在这样做时，我在自我民族志和参与观察的方法论框架内写作。