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Line 53: Neuwirth's original compositional style is characterized by the use of diverse compositional techniques and hybrid sound materials, with a constant questioning of artistic and sociopolitical norms. She refers to an "art in-between."<ref name="blog.berlinerfestspiele.de">{{Cite web|title=Abenteuerlust und Unangepasstheit – Berliner Festspiele Blog|url=https://blog.berlinerfestspiele.de/abenteuerlust-und-unangepasstheit/|access-date=18 November 2021|website=blog.berlinerfestspiele.de|language=de}}</ref> Stefan Drees remarked:<ref>{{Cite web|title=Olga Neuwirth: In Focus|url=https://boosey.com/pages/cr/composer/composer_main?composerid=5292&ttype=INTRODUCTION|access-date=18 November 2021|website=boosey.com}}</ref>{{blockquote|The catastrophic, the plunge into unfamiliar regions with all the attendant consequences, is therefore a fundamental mood of her compositions, winding like a red thread through her works.}} ====Openness==== Usually assigned to the category of [[contemporary classical music]], her works since the late 1980s have sought to transcend the genre restrictions imposed by the music business. From a multitude of "sources of inspiration ... from art, architecture, literature and music, intellectual history, psychology, natural science, and everyday reality ...".<ref name="Wieschollek-2020"/> Neuwirth has sought to create art that is as multidimensional as it is distinct. For example, in ''Le Encantadas o le avventure nel mare delle meraviglie'' (2014), Neuwirth has been described as creating a "fictional adventure novel through multiple spatial sound effects", drawing on [[Herman Melville|Herman Melville's]] novella ''[[The Encantadas]]'' (1894) and Luigi Nono's sound world, especially that of his 1984 ''[[Prometeo]]''.<ref name="www.ricordi.com">{{Cite web|title=Triumph für Neuwirths "Le encantadas"|url=https://www.ricordi.com/de-DE/News/2015/10/Neuwirth-Le-encantadas.aspx|access-date=18 November 2021|website=www.ricordi.com|language=en}}</ref> The starting point of this composition is an acoustical survey (Neuwirth: "preservation of acoustic heritage"<ref name="www.ricordi.com"/>) of the Chiesa San Lorenzo in [[Venedig|Venice]]. In the 1990s, Neuwirth began crossing genre boundaries between theatrical drama, [[opera]], radio drama, [[performance art]] and video. She has expressed interest in a broad spectrum of stimuli and possibilities of expression. This has been reflected in the titles of her works, for example in ''The Outcast'', a musicstallation-theater with video.<ref name="www.olganeuwirth.com">{{Cite web|title=olga neuwirth – projects|url=http://www.olganeuwirth.com/projects.php|access-date=18 November 2021|website=www.olganeuwirth.com}}</ref> ====Innovative means==== Neuwirth often set herself the goal of breaking up established forms of concert presentation in order to arrive at a "fluid form".<ref name="blog.berlinerfestspiele.de"/> For example, during the breaks in her two "portrait concerts" at the 1998 Salzburg Festival, the sound of wind-up toy instruments on a reinforced metal plate was transmitted into the concert hall's auditorium by means of several loudspeakers, with visuals projected live onto a screen, creating an immersive listening experience. In addition, "prompt texts" for the audience’s behavior, written by [[Elfriede Jelinek|Jelinek]], were inserted into the work. Neuwirth's works have expanded from the concert hall into public spaces, for example in ''Talking Houses'' (1996), a sound installation for shops along the main square of Deutschlandsberg, Austria (created jointly with Hans Hoffer), and in the sound installation ''...le temps désechanté ... ou dialogue aux enfers'' (2005) at the Place [[Igor Stravinsky]] in Paris. For this latter work, commissioned in 2005 by [[IRCAM|IRCAM Paris]], a motion-capture camera was used to allow electroacoustic sounds to interact with the streams of people moving through the square. As the number of passers-by rose, a musical transformation was set in motion. However, the Paris police ultimately ordered the sound installation to be shut down. ====Interdisciplinary collaboration==== Neuwirth frequently collaborates with artists working in other disciplines, such as architect [[Peter Zumthor]] (Bregenz 2017),<ref>{{Cite web|title=Peter Zumthor|url=https://www.kunsthaus-bregenz.at/ausstellungen/archiv/peter-zumthor/|access-date=18 November 2021|website=www.kunsthaus-bregenz.at}}</ref> the New York architects of [[Asymptote Architecture]] (ZKM 2017), and the computer music and audio/acoustics research artist Markus Noisternig. She worked with video artist Tal Rosner to create the interactive installation ''Disenchanted Island''<ref name="www.olganeuwirth.com"/> at [[Centre Georges-Pompidou|Centre Pompidou]] in Paris (2016). | |||