Lehmann's paradigm of postdramatic theater has mainly been criticized on two levels: its flexibility and its alleged "putting to death" of drama. The paper highlights to what extent flexible paradigms like the postdramatic one are necessary to study the numerous performances which are charac­terized by their in-between-ness between dramatic and postdramatic codes. The study of postdramatic jazz musicality that we observe in Jaz by Koffi Kwahule or in Isabella's Room by Jan Lauwers demonstrates

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... he need for such flexibility. Lehmann's notion of independent auditory semiotics is developed in the paper to study the exploitation of text as music (and not only in music): the end of the convergences between arts, the performance as a musical score, voice as sound vs. voice as discourse, disintegration of the dramatic character in favor of the jazz body of the performer.