The dialogue about the conception of art is the foundation of this opera. Our interpretation tries to establish the perspective of Eva. Intended for marrying the winner of the singing competition, we see her isolated in her nursery in the beginning, with a big teddy bear and toy companions, which she brings to life. In the second act, an oversized pinball machine set up houses her suddenly miniaturized room as part of the surreal Nürnberg-scene: using a zoom-out, we leave Eva's room, which is now in the midst of a game machine as a world of its own. At the beginning of the third act, we see Sachs at a pinball machine in a bunker. This new zoom-out shows us the pinball machines as works of art, protected from the outside world's rigors in particularly safe spaces. More and more pinball machines are unpacked by the festive society- all these machines are a gamification of composers of past eras. A picture of a society that is satisfied with the administration of existing works of art is shown here, similar to Hermann Hesse's Glasperlenspiel. By using the inherent artistic conflict as an example, we encourage people to situate the significance of art in the midst of our society.