Mauricio Kagel's Staatstheater (1967-70) and Carola Bauckholt's Oh I see (2016) provide musical and theatrical voices by establishing communication among sound, physicality, and theatricality through a collaborative process that included an interdisciplinary method as well as influences from referentiality and postmodernism. The analysis includes performance methods as well as the realization in action, texts, and notations: how do Kagel and Bauckholt manage physical movement and coordination with the score? In the theater, how do physical body gestures and human behaviors express sound? What hidden meanings and symbolism exist within the musical structure? The goal of this dissertation is to explore the organization of sound and the body and their meanings, comparing these two influential compositions to discover the complexity of sound, physicality, and theatricality through the use of scenic elements within the compositional structure.