DOCSLIB.ORG

Bauhaus Body and Movement: Exploring the Triadic Ballet by Kathryn Ann Scheuring B.A. in History of Art and Architecture, May 20

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bauhaus Body and Movement: Exploring the Triadic Ballet by Kathryn Ann Scheuring B.A. in History of Art and Architecture, May 20 Bauhaus Body and Movement: Exploring the Triadic Ballet by Kathryn Ann Scheuring B.A. in History of Art and Architecture, May 2013, University of Pittsburgh A Thesis submitted to The Faculty of The Columbian College of Arts and Sciences of The George Washington University in partial fulfillment of the requirements for the degree of Master of Arts May 21, 2017 Thesis directed by Clare Brown Program Head, Master of Arts in Exhibition Design Assistant Professor Abstract of Thesis Bauhaus Body and Movement Oskar Schlemmer’s dance production Triadic Ballet is, within the context of Bauhaus design history, relatively unknown. Despite Triadic Ballet being odd, over-the- top, or seemingly self-indulgent, it is actually a perfect case study of the core principles and exploratory goals of the Bauhaus school. Looking closely at Triadic Ballet and Oskar Schlemmer’s dance classroom can move us past the mainstream concept of “Bauhaus aesthetics” - primary colors, simple shapes, diagonals, and san-serif lowercase type. It can reveal a deeper level of the Bauhaus’ history - a look into student life and its informal, experimental, and free-flowing creativity. Bauhaus fundamentals can be found in Triadic Ballet as much as in any examples of graphic design, product design, and fine art created at the school. Emphasis on human studies is especially important in Oskar Schlemmer’s dance productions, as they are in the well-known products and legacies of the Bauhaus. Bauhaus Body and Movement will explore the theater workshop at the Bauhaus school, specifically as it existed under the leadership of Oskar Schlemmer from around 1922-1925. This exploration will demonstrate the early human studies that continue to influence the way we view forms, figures, and movement in today’s design world. It will show the relationship between the Bauhaus’ experimental theater workshop and especially Triadic Ballet - a relatively unknown topic - to what we view as core Bauhaus design principles. Implementing both demonstrations and opportunities for interaction, !ii the visitor will experience the experimental and informal culture of the original Bauhaus Theater as they discover how human-centered design principles found in the dance performances can be experienced in their own bodies’ movement. After exploring a unique, vibrant design movement that was ahead of its time, visitors will leave with a basic understanding of Bauhaus principles and culture in the context of a memorable case study. !iii Table of Contents Abstract of Thesis…………………………………………………………………………ii Mission/Message………………………………………………………………….……….1 Relevance………………………………………………………………………………….3 Research……………………………………………………………………………….…..5 Experience…….…………………………………………………………..……………….7 Site…….…………………………………………………………………………………..8 Audience…….….………………………………………………………………………..10 Interpretive Strategy………….…………………………………………………………..12 Content Narrative………….……………………………………………………………..13 Design Strategy………….…………………………………………………..…….……..15 Bibliography……………………………………………………………………………..20 Appendix I: Precedents………….…………….……………………………………..…..21 Appendix II: Site Exploration………………………………………………………..…..23 !iv Mission/Message For those who know little about the Bauhaus, it tends to spark interest - “Where did this thing come from?!” and as for those familiar with what are considered Bauhausian aesthetics, they are often surprised at the source. Triadic Ballet is unique not only in the context of the Bauhaus school, but unique for its time period, and perhaps most amazingly, unique across all modern art and design. Triadic Ballet could have been created in the 1930’s, the 60’s, the 90’s, or last month, and would have the same effect — an experimental, one of a kind performance with more theory behind it than meets the eye. The design of Bauhaus Body and Movement will show the depth of Oskar Schlemmer’s theater creations, past their entertainment value. Though at first it is seemingly vastly different from what the Bauhaus is typically remembered for — clean, minimal architecture, monochromatic poster artwork, and functionally-centered housewares — the exhibition’s message will show that it is more closely tied to the Bauhaus’ design principles than at first meets the eye. The content will prove, in fact, that — more than many of the well known products of the Bauhaus — Triadic Ballet presents a full case study of the Bauhaus’ most important and fundamental principles. Theories and goals that the founders and first professors at the German art school can be found clearly in the performance itself, as well as its choreography, costume design, music, and the thorough documentation Oskar Schlemmer and others produced on the subject. This !1 exhibition will express the relevance of the Triadic Ballet - showcasing how it demonstrates and even adds depth and richness to the Bauhaus’ design legacy. Close attention to human factors is an especially important part of the Bauhaus principles exemplified in Triadic Ballet. Ergonomics and early universal design principles can easily be found in some of the Bauhaus’ most famous lasting products — Marcel Breuer’s chair designs, emphasizing comfort, ease of use, and efficient manufacturing ability; Adolf Meyer’s comfortable, easy to use door handles; and Anni Albers’ textiles made usable in any home. These are the innovations that make the Bauhaus school so important in design history, and its products so ubiquitous to our everyday lives. Though at first (or even second) glance Triadic Ballet is vastly different from furniture and textile design from the Bauhaus, on closer inspection one can find evidence of serious consideration of human factors in its design. Oskar Schlemmer and his students spent time carefully studying the mechanics of body movement and the ways a dance performance could harness its full expressive capabilities. The dance theater classroom at the Bauhaus took ergonomic principles to their next level — from purely functional applications to beautiful expressions of the human body’s mechanics and movement. The teachers and students of the theater classroom demonstrate clearly the creative enthusiasm that was central to Bauhaus culture and its student life. Behind the functional, aesthetically pure industrial and fine art products of the school was a vibrant, fun-loving student and faculty body. The Bauhaus’ mission, more than creating new combinations of art and functional forms, was to create an informal environment for bright young minds to thrive and create in a difficult period of German history. The !2 freedom and fun of Bauhaus culture can be seen immediately in students snapshots and diary entries. It succeeded in more than its design legacy — it opened a door for creativity that may not have been otherwise possible in 1920’s Germany. Triadic Ballet provides a clear example of not only design fundamentals important to the Bauhaus, but of the vibrancy and creative freedom of the school and students. The mission, therefore, is to show Triadic Ballet’s multi-faceted value within the Bauhaus’ design legacy. Demonstrating its connection to Bauhaus design fundamentals as well as to the school’s priority of human studies will reveal its importance beyond surface-level entertainment value. By showing well-known Bauhaus design principles through this exuberant, colorful, and quirky performance, the content will also highlight the creatively free and enthusiastic student life at the famous art school. Relevance Whether or not they have previous knowledge of Bauhaus design, those who view Triadic Ballet are captivated by its bizarre costumes and strangely calculated choreography. Beyond face value, it is key to this exhibition to convey the performance’s importance to the design world, as well as the theories and principles it can teach. Viewers might be surprised and interested to find a depth to this strange dance performance. Weird things are always fascinating, as is discovering at first unseen depths to works of art. In particular, human studies will always present a relatable level to a !3 piece of art, no matter the form. Human factors and ergonomics affect virtually everyone. Every movement we make and everything that we create is influenced by an understanding of the human body and its potential. Human centered design determines the usability, accessibility, and success of products and experiences in daily life. In nearly every profession or activity, awareness of human factors will play an integral role. Experiencing Oskar Schlemmer’s Bauhaus theater workshop will call attention to the essentials that make up human centered design, and how results of these studies influence everyone in the modern world. Triadic Ballet is especially surprising and impressive in its relevance when considering the year it debuted: 1923. Nearly one hundred years old, Triadic Ballet presents the epitome of a timeless performance piece. Upcoming 2023 will mark the 100th anniversary of Oskar Schlemmer’s creation, providing an excellent opportunity to expose new viewers to Triadic Ballet and to explore the complexities and themes that make it so compelling. Bauhaus Body and Movement intends to be not only an exploration of the Bauhaus theater workshop and its productions, but as a celebration of the creativity and energetic student life. A 100th anniversary provides the perfect setting for this celebration. The site of this exhibition, which will be detailed further in this paper, provides a setting to demonstrate the Triadic Ballet’s relevance to design history to an audience already interested and
Load more

Recommended publications
  • Irrational / Rational Production-Surrealism Vs The
    MIT 4.602, Modern Art and Mass Culture (HASS-D/CI) Spring 2012 Professor Caroline A. Jones Notes History, Theory and Criticism Section. Department of Architecture Lecture 14 PRODUCTION AND (COMMODITY) FETISH: key dates: Lecture 14: Irrational Rational Production: Bauhaus 1919 (Sur)realism vs. the Bauhaus Idea Surrealism 1924 “The ultimate, if distant, objective of the Bauhaus is the Einheitskunstwerk- the great building in which there will be no boundary between monumental and decorative art.” -Walter Gropius (Bauhaus Manifesto. 1919) “Little by little the contradictory signs of servitude and revolt reveal themselves in all things.” - the Surrealist. Georges Bataille, 1929 “Bauhaus is the name of an artistic inspiration.” - Asger Jom, writing to Max Bill, 1954. “Bauhaus is not the name of an artistic inspiration, but the meaning of a movement that represents a well-defined doctrine.” -Bill to Jorn. 1954 “If Bauhaus is not the name of an artistic inspiration. it is the name of a doctrine without inspiration - that is to say. dead.'” - Jom 's riposte. 1954 “Issues of surrealist heterogeneity will be resolved around the semiological functions of photography rather than the formal properties … of style.” -Rosalind Krauss, 1981 I. Review: Duchamp, Readymade as fetish? Fountain by “R. Mutt,” 1917 II. Rational Production: the Bauhaus, 1919 - 1933 A. What's in a name? (Bauhaus” was a neologism coined by its founder, Walter Gropius, after medieval “Bauhütte”) The prehistory of Reform. B. Walter Gropius's goal: “to create a new guild of craftsmen, without the class distinctions which raise an arrogant barrier between craftstnan and artist. [...] painting and sculpture rising to heaven out of the hands of a million craftsmen, the crystal symbol of the new faith of the future.” C.
    [Show full text]
  • Cosmic Being from Theory to Practice Mohammed Mustafa Bachelor's
    Cosmic Being From theory to practice Mohammed Mustafa Bachelor’s thesis August 2018 Degree programme Media and Arts ABSTRACT Tampereen ammattikorkeakoulu Tampere University of Applied Sciences Media and Arts Mohammed Mustafa Cosmic Being: From theory to practice Bachelor's thesis, 28 pages, appendices 25 pages August 2018 Art theory has long been recognized as playing an important role in understanding art practice and building up critical thinking that can so valuably influence an artist’s prac- tice. Art theory is perceived as the nature of art, the definition and statement for any art movement. This thesis focuses on Bauhaus theatre as an art theory. The case study then explores how to transfer that theory into a fine art practice. The implementation of this practice was divided into two parts, one focused on photography and the other on graphic de- sign. From Chapter Five to Chapter Eight, the discussion of this case study, Cosmic be- ing: from theory to practice, is presented. This study drew largely on the analysis of various works of literature including but not limited to the following: The Letters and Diaries of Oskar Schlemmer (1990) edited by Tut Schlemmer; The Theatre of the Bauhaus (Gropius & Wensinger 1979), a collection of essays written by Oskar Schlemmer (Schlemmer 1979), Laszlo Moholy-Nagy, and Farkas Molnár; and Dance the Bauhaus (2016) edited by Torsten Blume. Bauhaus, with its fascinating mechanization of the stage and the human figures thereon, has not disappeared; its influence exists in theatres and performances across the world, most notably in the use of video techniques in the theatre, and the use of technology and multimedia as integral elements of stage performances.
    [Show full text]
  • Images of Attraction
    Schlemmer called for a mining of the human body as an artistic medium, in order to unite natural, organic experience with abstract, technical ideas. Like Sch- lemmer, Crocetta is a sculptor and performance artist who has built strong collaborative partnerships. The social component of her process and her knowledge of sculpture carry important consequences for the me- dium she works so eloquently here: the human body and its spaces. Represented in the moving images by the artist herself, by actors, shadows, dolls, or the per- ceptual camera-eye, the body and its representatives seem to linger across three potent thresholds. First is the boundary between art and life, or image and audi- ence, a boundary Crocetta contests through forms and fi gure 1 genres reminiscent of early cinema and avant-garde performance. Through the collaboration and simul- taneity of her media—sculpture, sound, performance, ALISON CROCETTA’S MOVING IMAGES fi lm and video—Crocetta also creates a fl uidity of form that bridges the perceptual binaries of fi gure/ground, The history of the theater is the history of the transfi guration of self/other and body/space. Perhaps most complex, the human form. It is the history of man as the actor of physical and spiritual events, ranging from naïveté to refl ection, from however, is Crocetta’s ability to harness the threshold naturalness to artifi ce.1 of past and future through various forms of mapping. Gridded layouts, framed spaces and the rhythmic con- This materialistic and practical age has in fact lost the genuine feeling for play and for the miraculous .
    [Show full text]
  • The Bauhaus and the Modern Movement.Compressed
    The Bauhaus and the Modern Movement The Modern Movement 1850s-1970s Background of the Modern Movement Classical Era → Industrial Revolution → Modern Movement ? Timeline https://vimeo.com/67015825 Breaking away Impressionism - Real places - Loose brushwork - Lightened palettes to include pure intense colour. - To capture what the eyes see instead what the brain perceive. Breaking away Post- Impressionism Two kinds of styles 1. Symbolic and highly personal, based on memory and emotion 2. Geometric, orderly, relies on colour as an optical illusion, based on what they see, reality Abstraction Cubism and futurism Fragmenting the object, based on various perspectives Recap Abstraction Constructivism, Suprematism & De Stijl Use of pure geometric forms to express a spiritual truth or represent an ideal. Recap Abstraction Abstract Expressionism Use of various lines and brushstrokes to express emotion New Mediums Dada and Cubism Recap New Mediums Pop Art - Silk screen made popular by Andy Warhol New Mediums Minimalism - Simple/Pure form of Aesthetic - Art that can be commissioned/made by others The Bauhaus German, equivalent to Bau- build, building + Haus house A school of design established in Weimar in 1919 by Walter Gropius, moved to Dessau in 1926, and closed in 1933 An German Architect, Walter Gropius was the director of the school. Gropius built an impressive faculty drawn from international avant-garde circles. Johannes Itten, Swiss expressionist painter, designer, teacher, writer and theorist Paul Klee Swiss German artist. His highly individual style was influenced by movements in art that included Expressionism, Cubism, and Surrealism. Wassily Wassilyevich Kandinsky Russian painter and art theorist Marcel Lajos Breuer, was a Hungarian-born modernist, architect, and furniture designer Ludwig Mies van der Rohe German-American architect Oskar Schlemmer German painter, sculptor, designer & choreographer László Moholy-Nagy Hungarian painter and photographer From the range of Bauhaus work presented, what are some of the key characteristics of bauhaus art? Eg.
    [Show full text]
  • Willi Baumeister Book in English
    / CREATOR FROM THE UNKNOWN 1955 – 1889 Willi Baumeister (1889–1955) is one of Modernism’s most significant artists. A central theme in his work was the search for universal reference points and the sources of artistic creation: Creativity as a never-ending process of discovery. baumeister As a painter and art professor, Baumeister campaigned for open Brigitte Pedde artistic exchange. With the present volume, the Willi Baumeister willi Stiftung is striking out in a new direction. For the first time ever, an introduction to the work of a seminal artist of the modern age is freely available on the Internet as a high-quality open access art book. WWW.WILLI-baumeister.COM Brigitte Pedde WILLI BAUMEISTER 1889–1955 Translated by Michael Hariton eBook PUBLISHED BY THE WILLI Baumeister STIFTUNG ISBN 978-3-7375-0982-4 9 783737 509824 Brigitte Pedde WILLI BAUMEISTER 1889–1955 CREATOR FROM THE UNKNOWN Translated by Michael Hariton PUBLISHED BY THE WILLI BAUMEISTER STIFTUNG Brigitte Pedde AUTHOR Henrike Noetzold DESIGN Reinhard Truckenmüller PHOTOS Cristjane Schuessler PROJECT COORDINATOR / IMAGE EDITOR Bernd Langner ONLINE EDITOR Michael Hariton (for Mondo Agit) TRANSLATION Elliot Anderson (for Mondo Agit) COPY EDITOR Willi Baumeister Stiftung PUBLISHER epubli GmbH MANUFACTURED AND PUBLISHED BY This work is licensed under a Creative Commons license agreement: LICENSE Attribution - NonCommercial - ShareAlike 3.0 Germany License. To view the terms of the license, please follow the URL: http://creativecommons.org/licenses/by-nc-sa/3.0/deed.de Felicitas
    [Show full text]
  • Italian Futurism, Dada & Bauhaus
    Italian Futurism "We shall set in motion the words-in-freedom that smash the boundaries of literature as they march towards painting, music, noise-art, and throw a marvelous bridge between the word and the real object." F. T. Marinetti Futurist Manifesto, published on 5 February 1909 Italian Futurism ● Admired speed, technology, youth and violence, the car, the airplane and the industrial city. ● They were passionate nationalists. ● Dismissed art critics as useless. ● Rebelled against harmony and good taste. ● Swept away all the themes and subjects of all previous art, and glorified in science. The Art of Noise - Russolo's Intonarumori http://www.youtube.com/watch?v=fYYkMux6Dgw Vita Futurista, 1916 The only officially “Futurist” film ever made, “Vita Futurista” was made in 1916 by Arnaldo Ginna and several other Futurist artists, including Giacomo Balla, Remo Chiti, and the founder of Futurism, F.T. Marinetti. Vita Futurista, 1916 Comprised of eleven independent segments conceived and written by different artists. Contrasted the spirit and lifestyle of the Futurist with that of the ordinary man in a series of humorous sketches, “How the Futurist Walks,” “How the Futurist Sleeps,” “The Sentimental Futurist,” etc. Vita Futurista, 1916 Many segments used experimental techniques such as split screens and double exposures. The only-known copy of this film was lost several decades ago. Vita Futurista, 1916 All that remain are written accounts by Ginna and a few still images. Giacomo Balla, 'Dynamism of a Dog on a Leash', 1912 Giacomo Balla, 'Abstract Speed+Sound', 1913-14 Umberto Boccioni, 'Unique Forms of Continuity in Space', 1913 Dada ● Sought to eliminate all forms of reason and logic due to the atrocities caused by World War I ● Born in Zurich in 1916, Hugo Ball, Emmy Hennings, Tristan Tzara, Jean Arp, Marcel Janco, Richard Huelsenbeck, Sophie Täuber, Hans Richter, along with others, discussed art and put on performances in the Cabaret Voltaire.
    [Show full text]
  • Art and Political Ideology : the Bauhaus As Victim
    /ART AND POLITICAL IDEOLOGY: THE BAUHAUS AS VICTIM by LACY WOODS DICK A., Randolph-Macon Woman's College, 1959 A MASTER'S THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF ARTS Department of History KANSAS STATE UNIVERSITY Manhattan, Kansas 1984 Approved by: Donald J. ftrozek A113D5 bSllSfl T4 vM4- c. 3~ TABLE OF CONTENTS Page Preface iii Chapter I Introduction 1 Chapter II The Bauhaus Experience: In Pursuit of the Aesthetic Chapter III The Bauhaus Image: Views of the Outsiders 48 Chapter IV Nazi Culture: Art and Ideology 92 Chapter V Conclusion 119 Endnotes 134 Selected Bibliography 150 -PREFACE- The Bauhaus, as a vital entity of the Weimar Republic and as a concept of modernity and the avant-garde, has been the object of an ongoing study for me during the months I have spent in the History Depart- ment at Kansas State University. My appreciation and grateful thanks go to the faculty members who patiently encouraged me in the historical process: to Dr. Marion Gray, who fostered my enthusiasm for things German; to Dr. George Kren, who closely followed my investigations of both intellectual thought and National Socialism; to Dr. LouAnn Culley who brought to life the nineteenth and twentieth century art world; and to Dr. Donald Mrozek who guided this historical pursuit and through- out demanded explicit definition and precise expression. I am also indebted to the Interlibrary Loan Department of the Farrell Library who tirelessly and cheerfully searched out and acquired many of the materials necessary for this study. Chapter I Introduction John Ruskin and William Morris, artist-philosophers of raid-nine- teenth century England, recognized and deplored the social isolation of art with artists living and working apart from society.
    [Show full text]
  • Design-In-Motion: Sculpting Choreosonic Wearables
    Title Design-in-Motion: Sculpting Choreosonic Wearables Type Article URL https://ualresearchonline.arts.ac.uk/id/eprint/14658/ Dat e 2 0 1 9 Citation Danjoux, Michèle (2019) Design-in-Motion: Sculpting Choreosonic Wearables. Theatre and Performance Design, 5 (1-2). pp. 114-124. ISSN 2332-2551 Cr e a to rs Danjoux, Michèle Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Design-in-Motion: Sculpting Choreosonic Wearables Michèle Danjoux London College of Fashion/DAP-Lab Bio Michèle Danjoux is a fashion designer, experienced educator and Research Coordinator for the School of Media & Communication at London College of Fashion, University of the Arts London. She is also co-director of DAP-Lab (http://people.brunel.ac.uk/dap/arch.html). Her artistic and research interests centre on wearable design through and as performance, and involve collaboration with dancers, choreographers, musicians and media artists. Her costumes have been performed at Kibla Multimedijski Centre, Slovenia; MediaLab Prado, Madrid, Spain; Le Cube, Centre Création Numérique, Paris; Watermans Art Centre and Sadler’s Wells, London. ABSTRACT Oskar Schlemmer’s constraining costume concepts and wearable objects for the theatre of the Bauhaus in the 1920s were central to his movement research. His aim was to limit movement through design intervention to more precisely hone in on the abstract mathematics of lines and geometries created by the mediated body in space. In The Triadic Ballet (premiered 1922) for example, he analysed the restricted movements of the performing body in relation to costume’s physical material characteristics as geometrical form located on the body.
    [Show full text]
  • Evolution of Arts in Europe 1880 to 1910 Art Nouveau 1905 to 1925
    Culture and Arts: Bridges to Solidarity (CABS) Project Number: 2019-1-DE02-KA204-006113 Activity: Evolution of arts in Europe Some more information 1880 to 1910 Art Nouveau Generating enthusiasts in the decorative and graphic arts and architecture throughout Europe and beyond, Art Nouveau appeared in a wide variety of strands, and, consequently, it is known by various names, such as the Glasgow Style, or, in the German-speaking world, Jugendstil. Art Nouveau was aimed at modernizing design, seeking to escape the eclectic historical styles that had previously been popular. Artists drew inspiration from both organic and geometric forms, evolving elegant designs that united flowing, natural forms resembling the stems and blossoms of plants. The emphasis on linear contours took precedence over color, which was usually represented with hues such as muted greens, browns, yellows, and blues. The movement was committed to abolishing the traditional hierarchy of the arts, which viewed the so-called liberal arts, such as painting and sculpture, as superior to craft-based decorative arts. The style went out of fashion for the most part long before the First World War, paving the way for the development of Art Deco in the 1920s, but it experienced a popular revival in the 1960s, and it is now seen as an important predecessor - if not an integral component - of modernism. https://www.theartstory.org/movement/art-nouveau/ 1905 to 1925 Expressionism, artistic style in which the artist seeks to depict not objective reality but rather the subjective emotions and responses that objects and events arouse within a person. The artist accomplishes this aim through distortion, exaggeration, primitivism, and fantasy and through the vivid, jarring, violent, or dynamic application of formal elements.
    [Show full text]
  • Oskar Schlemmer's Kitsch (1922): a Contextualisation and Translation
    Journal of Aesthetics & Culture ISSN: (Print) (Online) Journal homepage: https://www.tandfonline.com/loi/zjac20 Oskar Schlemmer’s Kitsch (1922): a contextualisation and translation Emily Brayshaw To cite this article: Emily Brayshaw (2021) Oskar Schlemmer’s Kitsch (1922): a contextualisation and translation, Journal of Aesthetics & Culture, 13:1, 1945239, DOI: 10.1080/20004214.2021.1945239 To link to this article: https://doi.org/10.1080/20004214.2021.1945239 © 2021 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. Published online: 29 Jun 2021. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=zjac20 JOURNAL OF AESTHETICS & CULTURE 2021, VOL. 13, 1945239 https://doi.org/10.1080/20004214.2021.1945239 Oskar Schlemmer’s Kitsch (1922): a contextualisation and translation Emily Brayshaw Faculty of Design, Architecture and Building, University of Technology Sydney, Ultimo, NSW, Australia ABSTRACT KEYWORDS This article contextualises a previously unpublished manuscript on the subject of kitsch Kitsch; Bauhaus; aesthetics; written in 1922 by the Bauhaus practitioner Oskar Schlemmer and provides an original arts and crafts movement; annotated translation as an appendix. The article positions Schlemmer’s manuscript as Deutscher Werkbund; folk a response to debates about the aesthetics of kitsch among his contemporaries in the art German and Austrian intelligentsia, including Austrian architect Adolf Loos; Stuttgart-based art historian and member of the Deutscher Werkbund Gustav Pazaurek; the founding mem­ ber of the Dürerbund, Ferdinand Avenarius; and the avant-garde satirist Frank Wedekind. Schlemmer’s unpublished manuscript is also located as part of a broader response to the social upheavals of industrialisation and the First World War, where the concept of kitsch figured centrally in discussions among taste-makers about the progress and purpose of art and design in the new century.
    [Show full text]
  • Leseprobe 9783791359045.Pdf
    original bauhaus 5 / Contents / Foreword 7 Annemarie Jaeggi and Thomas Köhler / Greetings 9 Klaus Lederer / Greetings 11 Hortensia Völckers and Alexander Farenholtz / Introduction 13 Nina Wiedemeyer Chapter 1 / Becoming Icons / ‘Why is the Bauhaus so important?’ 19 Christian Demand Chapter 1 / Becoming Icons / Case Study 1 Revivals 23 Thomas Tode Chapter 1 / Becoming Icons / Case Study 2 Unity in Diversity 31 Annemarie Jaeggi Chapter 1 / Becoming Icons / Case Study 3 Production—Reproduction 41 Alena J. Williams Chapter 1 / Becoming Icons / Case Study 4 Unique Works in Series 51 Pauline Doutreluingne and Uli Aigner Chapter 1 / Becoming Icons / Case Study 5 Becoming Famous 57 Mercedes Valdivieso Chapter 1 / Becoming Icons / Case Study 6 Family Resemblances 65 Magdalena Droste Chapter 2 / Writing History / An Archive for Contemporary Tasks 75 Esther Cleven Chapter 2 / Writing History / Case Study 7 Lecturing—Exhibiting 79 Annemarie Jaeggi Chapter 2 / Writing History / Case Study 7 Lecturing—Exhibiting 85 Ute Famulla Chapter 2 / Writing History / Case Study 8 Yours Modernly 95 Nicole Opel Chapter 2 / Writing History / Case Study 9 Simple 103 Matthias Noell Chapter 2 / Writing History / Case Study 9 Simple 109 Sigurd Larsen Chapter 2 / Writing History / Case Study 10 Missing—Existing 111 Hans-Friedrich Bormann Chapter 2 / Writing History / Case Study 10 Missing—Existing 119 Christine van Haaren Chapter 2 / Writing History / Case Study 11 Dissimilar Twins 125 Helga Lutz Chapter 2 / Writing History / Case Study 11 Dissimilar Twins 133 Anna Henckel-Donnersmarck
    [Show full text]
  • Expressions of Form and Gesture in Ausdruckstanz
    EXPRESSIONS OF FORM AND GESTURE IN AUSDRUCKSTANZ, TANZTHEATER, AND CONTEMPORARY DANCE by TONJA VAN HELDEN B.A., University of New Hampshire, 1998 M.A., University of Colorado, 2003 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Program of Comparative Literature 2012 This thesis entitled: Expressions Of Form And Gesture In Ausdruckstanz, Tanztheater, And Contemporary Dance written by Tonja van Helden has been approved for the Comparative Literature Graduate Program __________________________________________ Professor David Ferris, Committee Chair ____________________________________________ Assistant Professor Ruth Mas, Committee member ____________________________________________ Professor Jennifer Peterson, Committee member ____________________________________________ Professor Henry Pickford, Committee member ____________________________________________ Professor Davide Stimilli, Committee member Date ________________ The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. van Helden, Tonja (Ph. D., Comparative Literature, Comparative Literature Graduate Program) Expressions Of Form And Gesture In Ausdruckstanz, Tanztheater, And Contemporary Dance Thesis directed by Professor David Ferris My dissertation examines the historical trajectory of Ausdruckstanz (1908-1936) from its break with Renaissance court ballet up through its transmission into Tanztheater and contemporary styles of postmodern dance. The purpose of this study is to examine the different modes of expression as indicated by the character, form, style, and concept of Ausdruckstanz, Tanztheater and contemporary dance. Through a close analysis of select case studies, each chapter provides a critical analysis of the stylistic innovations and conceptual problems evidenced by the choreographies from each movement.
    [Show full text]