"[An] extremely articulated account of unprecedented thoroughness in the world critical literature. The most innovative aspect is the emphasis on the founding and constitutive role of music and of the scenic dimension, which has so far been scarcely explored. This has led to new and very compelling findings on the author’s musical sensitivity and on the relationship between the poetic word and its sound."—Mario Caramitti, University of Rome “La Sapienza”"What exactly do I like about this, shall we say, thing? Almost everything, but especially its structure—you have managed to harmonize so much material in a great way, as if it were a musical composition. I dare say that you could make an exquisite avant-garde film based on this book, full of music of all kinds of genres. Works by Gubaidulina and Schnittke would be very suitable. That is, it would be a musical, a cinematic opera, and my texts would be arias, while yours would make commentaries, and there would be as many counterpoints as you like."—Sasha Sokolov

"[An] extremely articulated account of unprecedented thoroughness in the world critical literature. The most innovative aspect is the emphasis on the founding and constitutive role of music and of the scenic dimension, which has so far been scarcely explored. This has led to new and very compelling findings on the author’s musical sensitivity and on the relationship between the poetic word and its sound."—Mario Caramitti, University of Rome “La Sapienza”"What exactly do I like about this, shall we say, thing? Almost everything, but especially its structure—you have managed to harmonize so much material in a great way, as if it were a musical composition. I dare say that you could make an exquisite avant-garde film based on this book, full of music of all kinds of genres. Works by Gubaidulina and Schnittke would be very suitable. That is, it would be a musical, a cinematic opera, and my texts would be arias, while yours would make commentaries, and there would be as many counterpoints as you like."—Sasha Sokolov

"[An] extremely articulated account of unprecedented thoroughness in the world critical literature. The most innovative aspect is the emphasis on the founding and constitutive role of music and of the scenic dimension, which has so far been scarcely explored. This has led to new and very compelling findings on the author’s musical sensitivity and on the relationship between the poetic word and its sound."—Mario Caramitti, University of Rome “La Sapienza”"What exactly do I like about this, shall we say, thing? Almost everything, but especially its structure—you have managed to harmonize so much material in a great way, as if it were a musical composition. I dare say that you could make an exquisite avant-garde film based on this book, full of music of all kinds of genres. Works by Gubaidulina and Schnittke would be very suitable. That is, it would be a musical, a cinematic opera, and my texts would be arias, while yours would make commentaries, and there would be as many counterpoints as you like."—Sasha Sokolov