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The article discusses the relationships between musical performance, theatrical space and gesturality in Christoph Marthaler’s operatic productions. The stage design, the types of actor’s physical and vocal expressivity in “Le Nozze di Figaro”, “La Grande Duchesse de Gérolstein”, “Kát’a Kabanová”, “Věc Makropulos”, “Les Contes d’Hoffmann” and “Tristan und Isolde” are studied. Gesture, vocalisation and text in Marthaler’s productions are discussed and interpreted by considering the mismatching of dance and musical rhythm, the contrast of academical and non-academical singing manners or soundless articulation, as well as emphasizing the visual side of musical performance. Ensemble music-making and figurative gestures are the metaphors of power relations, total control and the collapse of social structures. It is concluded that the ways of vocalization and the types of gestures embody the system of power. The society in Marthaler’s operatic stage productions appears as an ensemble of the discursive practices.

“Obedient bodies”: Space, time and sound in the operas by Christoph Marthaler