The Theater of the Bauhaus
Edited by Walter Gropius, László Moholy-Nagy (original series), Lars Müller (English edition) in collaboration with Bauhaus-Archiv/Museum für Gestaltung, Berlin
Design: László Moholy-Nagy (original German edition)
Spatial dance, gestural dance, rod dance, Triadic Ballet: Oskar Schlemmer developed his costumed, masked dancer into an “art figure” synthesizing dance, masquerade, and music. The fourth volume of the Bauhausbücher presents the main characteristics of the Bauhaus concept of the stage.
The Bauhaus stage is that of the Weimar period, essentially shaped by Oskar Schlemmer, who had taken over the stage department in 1923. László Moholy-Nagy, who was appointed to the Bauhaus the same year, took an interest in abstract kinetic and luminary phenomena which he examines in his essay "Theatre, Circus, Variété." Farkas Molnár focused for his part on stage architecture, which he discusses in detail in this volume.
2020, Lars Müller Publishers
90 pp., 58 ills., reprint, hardback
Digital library Heidelberg University
The French painter and writer Albert Gleizes is considered an important representative of Cubism and described himself as the founder of this art movement. Although he was never an official member of the Bauhaus, Gleizes nevertheless dedicated his influential essay on Cubism to the art school.
The Non-objective World
Kasimir Malevich’s treatise on Suprematism was included in the Bauhausbücher series in 1927, as was Piet Mondrian’s reflections on Russian Constructivism in 1925. Like Mondrian, who was never an official member of the Bauhaus, Malevich nevertheless has a close connection to the ideas of the school in terms of content.