To him the intricate structure of a symphony is not accidental play with traditional forms, it's necessity. Nitsch draws material from a number of epochs, mostly though from late romanticism and expressionism. Unlike those who don't want to let go of the past, Nitsch uses material that pertains to today's interests rather than adhering to structures established before. Theater and music cannot be left in the hands of specialists only. A new generation has to grow.
Nothing is gained by performances of some puny imbeciles.
Few set out to work on Scriabin's fragrance and color prophecies. I see a legitimate expansion of Scriabin's mystery play in Nitsch's symphonic and theatrical work. Nitsch does not make the mistake to turn Scriabin s demands into dogma. Nitsch didn't run into Scriabin like a lost son but as somebody who clearly knew his own goals and was capable to integrate Sriabin's visions into his own work.