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The article examines the GDR Trilogy by Fritz Kater as a dramatic collage, characterized by the multiplicity and heterogeneity of its constituent elements, re-coding the meanings of each fragment in the context of the whole, synthesis of various dramatic and epic techniques, elements of music, painting and other types of arts. The relations of connection, repulsion, parallelism, contrast that arise between the scenes in the context of the trilogy are traced. The authors strategy of constructing an auditory image in the play is described. On the example of the first of the plays Vineta or Vodomania / Vineta or Oderwassersucht, 2001), the author analyzes the sound score written in the authors remarks, emphasizing the division of the piece into two parts according to the principle of the golden section. The motive analysis used in the article shows how the extra-musical sound palette of the play, built in the spirit of John Cage, reveals and enhances the motive of loss  the main motive of the first movement, and the silence that occurred in the last scenes helps to highlight the shame-motive that arises in them. Musical fragments of the play are associated with the mythological image of the sunken city, the lost paradise, the flourishing Vineta.

Acoustic spaces of Fritz Kater’s dramatic collages