Among Slovenian modernist composers, Darijan Božič dedicated the largest part of his work to musical theatre. The genre classifications of his works show that the composer constantly searched for a new form of musical theatre. It would appear that he finally settled on a medium that could almost be designated as a “radio play”, with an emphasis usually on the spoken word, accompanied by occasional interventions of instrumental music. Over time, these interventions appeared to lose their modernist edge (harmonic clusters) and approach postmodernism by juxtaposing diverse elements. Thus, a characteristic of Božic’s works is their double imbalance: the language strongly dominates the music, while at the same time, the composer’s desire to implement avant-garde theatrical procedures in an institutional opera house seems unusual. Med slovenskimi skladateljskimi modernisti je glasbenemu gledališču največ pozornosti namenil Darijan Božič. Obravnavana so njegova glasbenogledališka dela, pri čemer je že iz žanrskih podnaslovov posameznih del razvidno, da je skladatelj ves čas iskal novo formo za glasbenogledališko delo. Zdi se, da jo je našel v nekakšnem napol »radijskem« mediju – nosilno težo ima po navadi govorjena beseda, ki jo v obliki zvočne opreme spremljajo redke instrumentalne zvočne intervencije. Te skozi čas izgubljajo modernistično ostrino (harmonski grozdi) in se s sopostavljanjem raznolikega približujejo postmodernizmu. Tako se za Božičeva dela kot značilna izkaže dvojna neuravnoteženost – beseda močno prevlada nad glasbo, hkrati pa se zdi nenavadna skladateljeva želja, da avantgardne gledališke postopke skuša uresničiti v institucionalnem opernem gledališču.