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György Kurtág's vocal oeuvre is connected to lingustic criticism, which allows language only as one definite sign for information and ignores all other articulatory and pre- and metalinguistic aspects of language. These  forms of linguistic criticism have been pronounced by two fundamental lines in the 20th century. Kurtág's songs for one voice can be seen as a third stadium, which frees tonal, gestural, and rhythmic aspects of articulated and sung language by keeping the discursive character of language and not by phonetic dissociation and pulverisation. Threee central aspects are discussed: 1. Beckett's text What is the word; 2. The merging of the song for one voice from op. 30a into the instrumental piece for several voices of op. 30b; 3. Imaginary theatre in op. 30b - the concept of theatricality of non-theatrical music

Beckett after Kurtág: Towards a Theory of Theatricality of a Non-theatrical Music